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THE 


AMERICAN  BUILDER’S  COMPANION  ; 


OR, 


A SYSTEM  OF  ARCHITECTURE, 

PARTICULARLY  ADAPTED 


TO  THE  PRESENT  STYLE  OF  BUILDING. 


TREATING 


ON  PRACTICAL  GEOMETRY..  ..THE  ORIGIN  OF  BUILDING  ...OF  THE  FIVE  ORDERS  OF  ARCHITECTURE.,., 
OF  THEIR  PARTICULAR  PARTS  AND  EMBELLISHMENTS,  AND  OF  THEIR  APPLICATION.... 
ALSO  VERY  FULLY  ON  STAIRS....ON  PLANS  AND  ELEVATIONS  OF  HOUSES,  FOR  BOTH 
TOWN  AND  COUNTRY....ON  CHURCHES,  COURT  HOUSES,  &C....ON  SASHES,  SASH 
FRAMES,  SHUTTERS,  DOORS,  CORNICES,  BASE  AND  3URBASE 
MOULDINGS,  ARCHITRAVES,  &c.  &c. 


ILLUSTRATED  WITH  EISTY  NIKE  COPPERPLATE  BHGRAYINGS. 


Third  Edition,  corrected  and  enlarged. 


BY  ASHER  BENJAMIN, 

Architect  and  Carpenter. 


BOSTON  : 

PUBLISHED  BY  R.  P.  Sf  C.  WILLIAMS, 

FOR  THE  author. 

PRINTED  BY  THOMAS  G.  BANGS. 

April 1816. 


DISTRICT  OF  MASSACHUSETTS,  TO  WIT  : 

District  Clerk's  Office. 

BE  it  remembered,  that  on  the  first  day  of  June,  a.  d.  1814, 
and  in  the  thirty  fifth  year  of  the  Independence  of  the  United 
States  of  America,  Asher  Benjamin,  of  the  said  district,  has  de- 
posited in  this  office  the  title  of  a book,  the  right  whereof  he 
claims  ijs  author,  in  the  words  following,  to  wit: 

£t  The  American  Builder’s  Companion  ; or,  a System  of  Architec- 
ture, particularly  adapted  to  the  present  style  of  building. 
Treating  on  Practical  Geometry  ...The  Origin  of  Building.... 
Of  the  five  Orders  of  Architecture.... Of  their  particular  parts 
and  embellishments,  and  of  their  application  ...Also  very  fully 
on  Stairs. ...On  Plans  and  Elevations  of  houses,  for  both  town 
and  country.. ..On  Churches,  Court  Houses,  &e.  ..On  Sashes, 
Sash  Frames,  Shutters,  Doors,  Cornices,  Base  and  Surbase 
Mouldings,  Architraves,  &c.  &c.  Illustrated  with  fifty  nine 
copperplate  engravings.  Third  Edition  corrected  and  enlarged. 
By  Asher  Benjamin,  Architect  and  Carpenter.” 

In  conformity  to  the  act  of  the  Congress  of  the  United  States,  en- 
titled, ‘‘An  act  for  the  encouragement  of  learning,  by  securing  the 
copies  of  maps,  charts,  and  books,  to  the  authors  and  proprietors 
of  such  copies,  during  the  times  therein  mentioned  and  also  to 
an  act,  entitled,  “An  act  supplementary  to  an  act,  entitled.  An  act 
for  the  encouragement  of  learning,  by  securing  the  copies  of  maps, 
charts,  and  books,  to  the  authors  and  proprietors  of  such  copies, 
during  the  times  therein  mentioned ; and  extending  the  benefits 
thereof  to  the  arts  of  designing,  engraving,  and  etching  historical 
aud  other  prints.” 

WM  S SHAW  5 Clerk  of  the  District 

YYM.  S.  fell  AW,  £ of  Massachusetts, 


PREFACE. 


FIVE  years  having  elapsed  since  the  first  publication  of  the  American 
Builder  ; during  which  time  I have  been  constantly  employed  in  drawing  and 
executing  plans  for  buildings.  The  experience  of  that  time  enables  me  to  con- 
firm some,  and  reject  other  former  methods. 

Sixteen  plates,  which  were  in  the  first  edition,  I have  laid  aside,  and  have 
added  twenty  nine  new  ones  ; which  almost  make  this  a new  work. 

I have  first  laid  down  and  explained  such  problems  in  Geometry,  as  are  ab- 
solutely necessary  to  the  well  understanding  of  the  subject.  I have  next  treat- 
ed on  the  origin  of  building,  of  mouldings,  and  of  the  orders.  I have  endeav- 
oured to  explain  them  so  clearly  and  fully,  that  they  cannot  be  misunderstood. 
At  first  they  were  selected  from  several  authors,  drawn  at  large,  and  wrought. 
After  careful  examination,  such  parts  as  I did  not  approve,  were  altered,  by 
drawing  and  working  them  over  again,  and  repeating  this  process  several  times, 
till  after  the  most  minute  and  careful  examination  of  every  part  of  the  four  first 
orders,  I was  confirmed  in  the  opinion,  that  no  further  alterations,  for  the  better, 
could  be  made  ; for  the  result  of  which  experiments,  see  these  orders  as  they 
are  severally  laid  down. 

I have  given  the  Tuscan  column  eight  diameters  in  height,  in  imitation  of  the 
Trajan  and  Antonian  columns  at  Borne,  which  are  of  that  height,  and  reckoned 
of  the  Tuscan  order  ; and  have  regularly  progressed,  by  giving  the  Do  ■:  nin? 
the  Ionic  ten,  the  Corinthian  and  Composite  eleven  diameters  each. 

I expect  it  w ill  be  said  by  some,  who  rigidly  adhere  to  the  proportions  of 
the  ancients,  that  the  Tuscan  column  ought  not  to  be  but  seven,  the  Boric  eight, 


IV 


PREFACE. 


tlie  Ionic  nine,  and  the  f5ovintliian  and  Composite  ten  diameters  each,  in  height. 
Experience  has  taught  me  that  no  determinate  rule  for  columns,  in  all  situations, 
will  answer ; they  must  be  proportioned  according  to  the  weight,  or  apparent 
* weight  they  are  to  sustain.  I do  not  recollect,  in  the  course  of  seventeen  years 
extensive  practice,  to  have  made  either  of  the  orders  larger  than  the  proportion 
here  given  ; and  in  but  few  cases  so  large.  My  principal  aim  has  been  direct- 
ed toward  explaining  with  perspicuity,  the  foundation  of  this  art  ; the  orders, 
and  their  particular  parts.  For  this  explanation  I am  principally  indebted  to 
sir  William  Chambers’  incoiriparable  Treatise  on  Civil  Architecture  ; how  far 
I have  succeeded  in  my  attempt,  I must  submit  to  the  judgment  of  others. 

I have  given  examples  of  sashes,  sash  frames,  and  shutters  ; and  how  to  set 
them  in  a brick  wall  ; have  also  treated  fully  on  stairs  ; for  which,  I must  ac- 
knowledge myself  indebted  to  P.  Nicholson’s  excellent  books  on  that  subject. 

Several  plans  and  elevations  of  buildings  of  different  kinds,  are  to  be  found 
in  this  work,  with  observations  on  their  several  and  particular  parts. 

Note.  It  may  perhaps  be  asked,  why  Mr.  Kaynerd’s  name,  which  appear- 
ed in  the  first  edition,  does  not  appear  in  this  ; I answer,  he  sold  all  his  right 
and  title  to  the  work  soon  after  its  first  publication.  The  plates  in  this  edition, 
which  were  drawn  and.  explained  by  him,  have  his  name  affixed  to  them. 


. ' 


i1'  • ; ■ “*• 


* ■ 

. 

_ 


1 


THE 


AMERICAN  BUILDER’S  COMPANION. 

PLATS  L 

PRACTICAL  GEOMETRY. 

DEFINITIONS. 

A point  is  that  which  has  position,  but  no  magnitude  nor  dimensions  ; neither 
length,  breadth,  nor  thickness,  as  A. 

A right  line,  is  length  without  breadth  or  thickness,  as  1. 

A mixed  line,  is  both  rj^ght  and  curved,  as  2. 

A curve  line  continually  changes  its  direction  between  its  extreme  points,  as  3. 

Parallel  lines  are  always  at  the  same  perpendicular  distance  ; and  they  never  meet 
though  ever  so  far  produced,  as  4 and  5. 

Oblique  right  lines  change  their  distance,  and  would  meet,  if  produced,  on  the 
side  of  the  least  distance,  as  6. 

One  line  is  perpendicular  to  another,  when  it  inclines  not  more  on  the  one  side 
than  the  other  ; or  when  the  angles  on  both  sides  of  it  are  equal,  as  7. 

A surface,  or  superfices,  is  an  extension,  or  a figure,  but  without  thickness,  as  8. 

A body,  or  solid,  is  a figure  of  three  dimensions  ; namely,  length,  breadth,  and 
thickness,  as  9. 

A line,  or  a circle,  is  tangential,  or  a tangent  to  a circle,  or  other  curve,  when  it 
touches  it  without  cutting  when  both  are  produced,  a»  10. 

An  angle,  is  the  inclination,  or  opening  of  two  lines,  having  different  directions, 
and  meeting  in  a point,  as  11. 

A right  angle,  is  that  which  is  made  by  one  line  perpendicular  to  another,  or 
when  the  angles  on  each  side  are  equal  to  one  another,  as  the  lines,  a b,  and  a c, 
on  16. 


6 


THE  AMERICAN  BUILDER’S  COMPANION. 


An  acute  angle,  is  less  than  a right  angle,  as  12. 

An  obtuce  angle,  is  greater  than  a right  angle,  as  13. 

Plain  figures  that  are  bound  by  right  lints  have  names  according  to  the  number 
of  their  sides,  or  of  their  angles ; for  they  have  as  many  sides  as  angles  ; the  least 
number  being  three.  A figure  of  three  sides  and  angles,  is  called  a triangle,  as  14, 
15,  16,  and  17  ; and  they  receive  particular  denominations  from  the  relations  of 
their  sides  and  angles. 

An  equilateral  triangle,  is  that  whose  three  sides  are  all  equal,  as  14. 

A right  angled  triangle,  is  that  which  has  one  right  angle,  as  16. 

An  isosceles  triangle  has  only  two  sides  equal,  as  15. 

A scalene  triangle  has  all  sides  unequal,  as  17. 

An  obstuse  angled  triangle  has  one  obstuse  angle,  as  17. 

Of  four  sided  figures  there  are  many  sorts  ; as  the  square  18,  which  is  a plain 
regular  figure,  whose  superfices  are  limited  by  four  equal  sides,  all  at  right  angles 
with  one  another. 

The  parallelogram  19,  receives  its  name  from  its  opposite  sides,  and  ends  being 
parallel  to  each  other  ; the  parailogram  is  also  called  a long  square  or  oblong,  in 
consequence  of  its  being  longer  than  it  is  wide. 

The  rhomboids  20,  is  an  equilateral  parallelogram,  whose  angles  are  oblique, 
as  20. 

A trapezium  is  a quadrilateral,  which  has  neither  pair  of  its  sides  parallel,  as  21. 

A trapezoid  hath  only  one  pair  of  its  opposite  sides  parallel,  as  22. 

Plane  figures  having  more  than  four  sides  are  in  general  called  polygons,  and 
receive  other  particular  names  according  to  the  number  of  their  sides  or  angles. 

A pentigon,  is  a polygon  of  five  sides,  as  fig.  13,  plate  2. 

A htxigon,  is  a polygon  of  six  sides,  as  fig.  14,  plate  2. 

A heptagon  has  seven  sides  ; an  octagon  eight ; a nonagon  nine ; a decagon  ten  ; 
an  undecagon  eleven  ; and  a dodecagon  twelve. 

A regular  polygon  has  all  its  sides  and  its  angles  equal ; and  if  they  are  not  equal 
the  polygon  is  irregular. 

An  equilateral  triangle  is  also  a regular  figure  of  three  sides,  and  a square  is  one 
©f  four  ; the  former  being  called  a trigon,  and  the  latter  a tetragon. 


THE  AMERICAN  BUILDER'S  COMPANION.  7 

A circle,  is  a plain  figure,  bounded  by  a curve  line,  called  the  circumference, 
which  is  every  where  equidistant  from  a certain  point  within,  called  its  centre. 

The  radius  of  a circle,  is  a right  line  drawn  from  the  centre  to  the  circumference, 
as  a b,  23. 

A diameter  of  a circle,  is  a right  line  drawn  through  the  centre,  terminating  on 
both  sides  of  the  circumference,  as  c d,  on  23. 

An  arch  of  a circle  is  any  part  of  the  circumference,  as  a,  b,  24. 

A chord  is  a right  line  joining  the  extremities  of  an  arch,  as  a b,  24. 

A semicircle,  is  half  the  circle,  or  a segment- cut  off  by  diameter,  as  c d,  25. 

A section,  is  any  part  of  a circle,  bounded  by  an  arch  and  two  radii,  drawn  to  its 
extremities,  as  26. 

A quadrant,  or  quarter  of  a circle,  is  a sector,  having  a quarter  of  the  circumfer- 
ence for  its  arch,  and  the  two  radii  are  perpendicular  to  each  other,  as  c a,  and 
e e , 27. 

The  measure  of  any  right  lined  ngle,  is  an  arch  of  any  circle  contained  between 
the  two  lines,  which,  form  the  angle,  and  the  angular  point  being  in  the  centre, 
as  30. 

The  height,  or  altitude  of  any  figure,  as  a perpendicular  let  fall  from  an  angle,  or 
its  vertex  to  the  opposite  side,  called  the  base,  as  the  line,  a,  6,  28. 

When  an  angle  is  denoted  by  tnree  letters,  the  middle  one  is  the  place  of  the  an- 
gle, and  the  other  two  denote  the  sides  containing  that  angle ; thus,  let  a b d,  be  the 
angle  at  29,  b , is  the  angular  point,  a b,  and  b d,  are  the  two  sides  containing  that 
angle.  . /. 


8 


THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  2. 

FIG.  1. 

To  draw  a perpendicular  to  a given  point  in  a line,  a b is  a line,  and  d a given 
point ; take  a and  b , two  equal  distances  on  each  side  of  d,  and  with  your  compass- 
es in  a and  b , make  an  intersection  at  c,  and  draw  c d which  is  the  perpendicular 
required. 

FIG.  2. 

To  erect  a perpendicular  on  the  end  of  a line.  Take  any  point  you  please  above 
the  line,  as  c,  and  with  the  distance  c b,  make  the  arch  a,  6,  d,  and  draw  the  line 
a c,  to  cut  it  at  d,  and  draw  d b,  the  perpendicular. 

fig.  s. 

To  make  a perpendicular  with  a ten  foot  rod.  Let  b a be  six  feet  ; take  eight 
feet  in  your  compasses  ; from  b make  the  arch  c,  with  the  distance  ten  feet  from  a ; 
make  the  intersection  at  c,  and  draw  the  perpendicular,  c b. 

■FIG.  4. 

To  let  fall  a perpendicular  from  a given  point  in  a line.  In  the  point  e,  make  an 
arch  to  cross  the  line  a b,  at  c d ; with  the  distance  c dy  make  the  intersection  f 
and  draw  ef  the  perpendicular. 

fig.  s. 

To  divide  a line  in  two  equal  parts  by  a perpendicular.  In  the  points  a and  b, 
describe  two  arches  to  intersect  at  c and  e,  and  draw  the  line  c e,  which  makes  the 
perpendicular  required. 

FIG.  6. 

To  erect  a perpendicular  on  the  segment  of  a circle,  a b.  From  i,  draw  the 
arch  e d ; and,  with  the  distance,  e d,  and  on  e and  dy  make  the  intersection  c,  and 
draw  the  perpendicular,  c i. 

FIG.  7 and  10. 

An  angle  being  given,  to  make  another  equal  to  it,  from  a point,  in  a right  line. 
Let  a , c,  e , be  the  given  angle,  and  d n,  a right  line ; d the  given  point ; on  a make 


r . a 

\Fig.3.  Fig.  a/ 

Fig.j 

\ 4'  / 

. 


TflE  AMERICAN  BtfIlii5EK*3  COMPANION, 


* 

an  arch  c e , with  any  radius.,  and  on  d , with  the  same  radius,  describe  afi  arch,  no  j 
take  the  opening,  c e , and  set  it  from  n to  o,  and  draw  o d,  and  the  angle  will  be 
equal  to  that  of  c,  c,  e. 

FIG.  8. 

To  divide  any  given  angle  into  two  equal  parts.  On  a , the  angular  point,  with 
the  radius,  a e,  or  airy  other,  make  the  circle  e d;  on  e and  c/,  with  the  radius  e <?, 
make  the  intersection  c,  and  draw  the  line  c a , which  is  the  division  required. 

FIG  9. 

To  divide  a right  line  given,  into  any  number  of  equal  parts.  Let  a 6,  be  a giv- 
en line,  to  be  divided  into  ten  equal  parts  ; take  any  distance  in  your  compasses, 
more  than  one  tenth  of  that  line,  and  run  them  off  on  the  line  h g,  and  with  that 
distance,  make  the  triangle  h,  i,  g,  and  draw  each  tenth  division  to  the  angle  i ; take 
the  length  of  the  given  line  a b,  and  set  one  foot  of  the  compasses  at  a,  on  the  line 
g , i,  and  let  the  other  fall  on  the  line  h i,  at  6,  parallel  to  h g , and  draw  the  line  a bt 
which  gives  the  ten  divisions  required  ; the  lines  d c,  and  f e,  or  any  others  which 
are  shorter  than  the  base  line  of  the  triangle,  can  also  be  drawn  across  it,  which 
when  done,  will  be  divided  into  tenths. 

FIG.  II. 

To  make  an  equilateral  triangle  upon  a right  line.  Take  a e , the  given  side,  iij 
your  compasses  ; and  on  a and  e,  make  the  intersection  p,  and  draw  a c , and  e c. 

FIG  12. 

To  make  a geometrical  square  upon  a right  line.  With  the  given  side  d c , and 
in  the  points  d and  c,  describe  two  arches  to  intersect  at  a ; divide  a c,  into  two  equal 
parts  at  g ; make  a e,  and  a b , each  equal  to  a g , and  draw  c b,  d e,  and  e b. 

FIG  IS.  14.  and  IS. 

The  sides  of  any  polygon  being  given  to  describe  the  polygon  to  any  number  of 
sides  whatever.  On  the  extreme  of  the  given  side  make  a semicircle  of  any  radius, 
it  will  be  most  convenient  to  make  it  equal  to  the  side  of  the  polygon  ; then  divide 
the  semicircle  into  the  same  number  of  equal  parts  as  you  would  have  sides  in  the 
polygon,  and  draw  the  lines  from  the  centre  through  the  several  equal  divisions  in 
the  semicircle,  always  omitting  the  two  last,  and  run  the  given  side  round  each  way 
upon  those  lines  ; join  each  side,  and  it  will  be  completed. 

2 


10 


TH&  AMERICA V RTTTUDER’S  COMPANION, 


FIG  13. 

Howto  describe  a pentagon.  Let  a 5,  be  the  given  side,  and  continue  it  out  to 
a ; on  a the  centre,  describe  a semicircle  ; divide  it  into  five  equal  parts  ; through 
2,  3,  and  4,  draw  a 2,  a c,  a b,  make  5 b , equal  to  a 5,  2 c,  and  c b,  each  equal  to 
a 5,  Or  a 2 ; join  a 2,  2 c,  c b,  and  b 5 ; in  the  same  way  may  any  polygon  be 
drawn,  only  divide  the  semicircle  into  the  same  number  of  parts  that  the  polygon 
is  to  have  sides. 


IM 


• 

_ 

i. 

- 


* 


3 


1. 

L.- 


THE  AMERICAN  BUILDER’S  COMPANION- 


44 


PLATE  a. 

FIG.  1. 

To  make  an  octagon  in  a square.  Find  the  centre  n,  with  the  distance,  a it,  and 
in  the  points  abed,  make  the  arches  e n m,  In  h,  i nf  and  k n g ; join  / k,  m i, 
h g,'  and  f e,  which  completes  the  octagon. 

FIG.  2. 

Any  three  lines  being  given  to  make  a triangle.  Take  one  of  the  given  sides, 
a b,  and  make  it  the  base  of  the  triangle  ; take  the  second  side,  c a,  in  your  com- 
passes, place  one  foot  in  a,  and  make  the  arch  at  c ; t.ke  the  third  side,  b c,  and 
place  one  foot  of  the  compasses  in  b , and  make  the  intersection  e , then  draw  e af 
and  c b,  which  completes  the  triangle. 

FIG.  3. 

Two  right  lines  being  given  to  find  a mean  proportion.  Join  a c,  and  c b,  in  one 
straight  line  ; divide  it  into  two  equal  parts  at  the  point  n,  with  the  radius  n a,  or 
n b ; describe  a semicircle,  and  erect  the  perpendicular  e d,  then  is  b c,  toe  d,  as 
c d,  is  tor  a, 

FIG.  4. 

To  make  a geometrical  square,  equal  to  a triangle  given.  Let  a bn,  be  the  giv- 
en triangle  ; extend  ba,too  ; make  a o,  equal  to  half  of  n r , and  with  one  half  of  b of 
on  the  point  c,  make  a semicircle  ; from  a,  erect  a perpendicular  intersecting  the 
circle  at  f ; make  a d,  d e,  and  e f,  each  equal  to  af  and  the  geometrical  square  is 
completed. 

FIG.  5. 

A tangent  line  being  given  to  find  the  point  where  it  touches  the  circle.  From 
any  point  in  the  tangent  line  a b , as  e,  draw  a line  from  the  centre  e ; divide  e c} 
into  two  equal  parts  at  d ; on  d with  the  radius  d e,  or  d e,  describe  an  arch,  cut- 
ting the  given  circle  at  f,  which  is  the  point  required. 

FIG.  6. 

Through  any  three  points  given,  to  describe  the  circumference  of  a circle.  Let 
i d b,  be  the  given  points  ; on  id  and  b,  with  any  radius  large  enough  to  make  the 


12 


«PHE  AMERICAN  BUILDER’S  COMPANION. 


intersections  o e.  and  n c,  describe  the  arches  e o,  and  n e ; draw  the  lines  e a , and 
o a,  cutting  o,  and  n,  and  meeting  at  a , the  centre. 

FIG.  7. 

Two  circles  being  given  to  make  another  circle  to  contain  the  same  quantity. 
Let  A and  B be  the  two  given  circles  ; draw  a c , cutting  the  two  circles  in  their 
centres ; on  c erect  a perpendicular  ; make  c d , equal  to  a b , the  diameter  of  the 
Gircle  A ; draw  the  line  d b ; divide  d b into  iwo  equal  parts  at  e ; on  e,  with  the 
distance  e d,  or  e b,  describe  the  circle  D,  which  is  equal,  in  size,  to  the  two  given 
circles  A and  B. 

fig.  s. 

To  draw  a segment  of  a circle  to  any  length  and  height,  a b,  is  the  length,  n e, 
the  height  ; divide  the  length  a b into  two  equal  parts  by  a perpendicular  f d ; di- 
vide f b by  the  same  method,  and  their  meeting  at  f will  be  the  centre  for  drawing 
the  arch  b c a,  which  is  the  segment  required. 

FIG.  9. 

To  describe  the  representation  of  an  ellipsis  by  centres.  Divide  g h into  three 
equal  parts  at  d and  r ; with  that  distance,  and  on  d and  r,  make  the  intersections  i and 
o ; from  s,  through  d and  r,  draw  i n,  and  i e ; from  o,  through  d and  r,  draw  o ct 
and  o a ; on  d and  r,  describe  the  circles  cge,  and  ah  n ; on  & and  i describe  the 
circles  a er  and  n e. 


■ ■■  v- 


4* 


THE  AMERICAN  BUILDER’S  COMPANION*. 


u 


PLATE  4. 

FIG.  I. 

To  describe  a representation  of  an  ellipsis  by  centres.  Divide  a 6 into  four 
equal  parts  ; with  the  distance  d d,  and  on  dd,  describe  the  arches  ed  e,  and  e d 
draw  c f c i,  e g,  and  eh;  on  c and  e,  with  the  distance  c f or  c i,  describe  the 
arches  if  and  gh,  on  d,  andt/,  with  the  distance  d a,  or  d b,  describe  the  arches/"  a 
g,  and  i b h. 

FIG.  2. 

To  make  an  ellipsis  with  a cord.  Take  half  of  the  longer  diameter  a e>,  which  is 
a i,  or  c i ; with  that  distance,  fix  one  foot  of  the  compasses  in  o ; intersect  a e at 
b and  d ; tack  in  a nail  at  b and  d,  then  lay  a cord  round  d and  b,  and  make  it  meet 
at  o ; fix  a pencil  at  o , and  move  your  hand  around,  keeping  the  cord  tight,  will 
describe  an  ellipsis. 

FIG.  3. 

To  describe  an  ellipsis  by  ordinates*  Make  a circle  with  the  radius  a c,  or  a b ; 
divide  the  half  circle  into  any  number  of  parts,  say  10  ; make  c 5,  perpendicular  to 
c b , and  equal  to  one  half  of  the  smaller  diameter  of  the  ellipsis  ; draw  ordinates 
through  each  of  the  ten  divisions  on  the  semicircle  c d b ; draw  a 5,  then  c a 5 will 
be  the  scale  to  set  off  your  oval ; take  4,  1,  from  the  scale,  and  set  it  from  1 to  1, 
in  your  oval  both  ways,  and  at  each  end  ; then  take  3,  2,  from  the  scale,  and  set  it 
from  2 to  2 each  way  on  the  oval ; find  all  the  other  points  in  the  same  manner  ; a 
curve  being  traced  through  each  of  these  points,  will  form  the  true  ellipsis. 

FIG.  4. 

To  describe  an  ellipsis  by  a trammel,  gfe,  is  a trammel  rod  ; g,  a nut,  with  a 
hole  through  it,  to  hold  a pencil ; at  f and  e , are  two  other  sliding  nuts  ; make  the 
distance  of  f from  g,  one  half  of  the  shorter  diameter  of  the  ellipsis,  and  from  g to 
e , equal  to  one  half  of  the  longer  diameter  ; the  points/"  and  e,  being  put  into 
grooves  d c,  and  a b , then  moving  your  pencil  around  at  g,  will  describe  a true  curve 
of  the  ellipsis. 


THE  AMERICAN  BUILDER’S  COMPANION. 


41 

FIG.  5 and  6. 

To  draw  a semiellipsis  by  the  intersection  of  lines.  Let  the  given  axis  be  a b , 
and  divide  it  into  any  number  of  parts,  as  10  ; also  let  the  height  be  divided  into 
half  that  number  of  parts,  as  5 ; make  e q,  equal  to  q k,  the  height  of  the  arch  ; then 
from  the  point  e,  draw  lines  through  the  equal  divisions  of  the  axis  a b ; likewise 
through  the  points  1,  2 3,  4,  c,  in  the  height  b c , draw  lines  tending  to  the  crown 
at  p , which  will  intersect  at  the  points,  o n m /,  and  lines  being  drawn  through  the 
divisions  of  a c.  at  p , at  the  crown  ; in  the  same  manner  will  form  the  points  i h gf 
a curve  being  traced  through  these  points,  will  show  the  true  curve  of  the  ellipsis. 

FIG  7. 

How  to  draw  the  segment  of  a circle  by  intersecting  lines.  Let  g e , be  the  length 
of  the  segment,  a b , its  height  ; draw  the  cord  b e.  and  b g ; draw  e c , and  g d,  at 
right  angles  with  b <?,  and  b g , and  from  the  centre  at  a,  divide  a e and  a g , each 
into  five  equal  parts  ; also  from  b , at  the  crown,  in  the  centre  of  the  line  d c , divide 
b c,  and  b d,  each  into  five  equal  parts  ; and  draw  1 1,  2 2,  3 3,  4 4 , e c,  and  g d , 
through  the  divisions  1,  2,  3,  4,  5,  on  e 5,  and  g 5,  draw  lines  to  the  crown  at  b} 
which  will  intersect  the  other  lines  at  the  points  mnor,  and  qfk  i ; the  curve  be; 
ipg  traced,  the  segment  will  be  complete. 


J $ 


^2 

; 


5 


THE  AMERICAN  BUILDER’S  COMPANION. 


id 


PLATE  5. 

FIG.  A. 

To  describe  a representation  of  a semidlipsis  by  the  intersection  of  right  lines* 
Let  c d be  the  transverse  diameter,  d 6,  equal  to  one  half  of  the  conjugate  diameter  ; 
divide  d 6 and  6 6,  each  into  six  equal  parts,  and  draw  the  lines  d 1,  1 2,  2 3,  3 4,  4 5, 
and  5 6,  which  completes  one  half  ; proceed  in  the  same  manner  to  draw  the  other 
half,  and  also  to  draw  fig.  B and  C. 

Note.  This  way  of  representing  the  ellipsis  is  not  a correct  one  ; but  in  most 
cases  it  will  answer  in  practice,  particularly,  where  exactness  is  not  required.  It 
may  be  observed  that  the  curve  is  changed  by  the  number  of  parts  you  make  use  of ; 
if  divided  into  a great  number  of  parts,  it  makes  the  curve  too  quick  ; if  into  a small 
number,  it  makes  it  too  flat  ; by  taking  the  medium  between  these  two  extremes, 
you  will  approximate  nigh  the  truth. 

pig.  ©. 

The  transverse  and  conjugate  diameters  of  an  ellipsis  being  given  to  draw  its  rep* 
resentation.  Draw  c d parallel,  and  equal  to  o r,  bisect  it  in  i,  draw  i r,  and  d w, 
cutting  each  other  at  m ; bisect  m r,  by  a perpendicular  meeting  r zv,  produced  at  n; 
draw  n d , cutting  c e,  at  a ; make  o g,  equal  tooa;  oh,  equal  to  o n , through  the 
points,  a,  n,  g,  h ; draw  the  lines  n g,  g h,  h a,  and  na  ; and  in  the  centres  n , g , h , a, 
describe  the  lour  sectors,  and  it  will  produce  the  representation  required. 

FIG.  5. 

Divide  o 8 into  any  number  of  parts,  and  draw  the  ordinates,  a a,  1 b,  2 c,  3 dt 
4 e 5 f 6 h,  7 i,  and  c k ; transfer  those  distances  to  a a,  1 b,  2 c,  3 d,  4 e,  5/,  &c„ 
to  figs.  4,  3,  2,  and  1,  and  through  the  points,  o,  a,  b}  c,  d}  e,f  k,  i , k , and  8,  trace, 
their  curves  and  the  thing  is  done* 


THE  AMERICAN  BUILDER’S  COMPANION- 


14 


PLATE  6. 

FIG.  1. 

How  to  find  the  curvature  of  the  different  ribs  in  plaister  groins.  Fig.  1.  A, 
Let  e n 1 2 3 4 5 6 7 0 8,  be  the  given  arch,  standing  over  e n 12  3 4.  &e.  to  8, 
on  the  plan,  or  in  any  other  position  parallel  to  it  ; let  e c,  and  af  be  the  angles  of 
the  plan  over  which  the  ribs  are  to  be  placed ; divide  the  base  lint  e 8,  of  the  giv- 
en rib  A,  into  any  number  of  parts,  and  through  those  parts  draw  lines  from  the 
arch  to  the  diagonal  line  f c,  which  is  the  base  line  of  the  rib  D,  continue  them  at 
right  angles  through  the  rib  B,  and  transfer  the  distances  in  A,  the  given  rib  n n , 
1 1,  2 2,  3 3,  4 4,  5 5,  6 6,  7 7,  0 0,  to  n n,  1 1.  2 2,  3 3,  4 4,  5 5,  6 6,  7 7,  and  0 0, 
on  D and  B,  and  trace  the  curves,  which  will  complete  the  angle  rib  D,  and  side 
rib  B. 

Note.  The  ribs  D and  B,  may  be  described  with  the  trammel,  which  is  laid 
down  on  plate  4,  fig.  4, 

FIG.  2. 

To  draw  a segment  of  a circle  by  rods  to  any  length  and  height.  Take  two  rods, 
d h,  and  d a,  each  equal  to  o n , the  opening  ; place  them  to  the  height  at  d,  and  to 
the  end  o n , put  a piece  across  them  o c n,  to  keep  them  tight,  and  move  the  rods 
around  the  points  o nf  and  it  will  describe  the  segment  at  the  point  d. 

FIG.  3. 

How  to  find  the  raking  mouldings  for  a pediment.  Let  A,  be  the  given  mould- 
ing, B,  the  raking  moulding,  and  D,  the  return  moulding  ; draw  the  line  e c,  in  B, 
at  right  angles  with  the  lake  of  the  pediment,  and  e a,  in  D,  perpendicular,  or  par- 
allel to  e c\  in  A ; make  c a in  B,  and  c a in  D,  each  equal  to  c a in  A ; divide  the 
curve  of  the  given  cimarecta  A,  into  any  number  of  parts,  as  here,  into  four,  and 
draw  lines  upon  the  rake  and  parallel  to  it  ; with  the  distances  1 2,  and  3 4,  in  A, 
make  the  points  from  2 to  1,  and  3 to  4,  in  B and  D,  and  through  those  points  trace 
the  curves  e 4,  1 n,  in  B,  and  e 4, 1 e,  in  D. 


A-Benjai 


] H .AV.Snyder. 


A* 


ri«r.3- 


7 


A.Benjamin- 


Par 


/ 


313  13131313  13 


^Ilg.4. 


H.W.Snyder. 


THE  AMERICAN  BUILDER’S  COMPANION, 


if 


PLATE  r. 

FIG.  1. 

How  to  diminish  the  shaft  of  a column.  Let  6 f be  the  central  line ; divide  it 
into  four  parts,  and  at  one  fourth  make  the  line  a b across  the  column  ; on  c,  make 
the  half  circle  a e b ; with  the  distance  f 1,  at  the  neck  of  the  column,  and  on  1, 
on  the  central  line,  make  the  points  1,  1,  on  the  circle  ; divide  from  1 to  c,  into  four 
parts  ; also,  from  c to  f into  four  parts,  and  draw  lines  through  each  of  those  divi- 
sions ; and  with  the  distances  2 2,  3 3,  and  4 4 in  A,  on  the  line  6 f,  make  the 
points  2 2,  3 3,  4 4,  on  the  sides  of  the  column,  and  in  those  points,  and  in  1 b , and 
1 a,  tack  in  nails  or  brads,  bend  a lath  around  them,  and  by  it  mark  the  curves. 

FIG  2. 

How  to  set  out  flutes  and  fillets  on  a pilaster.  Divide  a b into  twenty  nine  equal 
parts,  and  give  three  of  them  to  each  flute,  and  one  to  a fillet. 

FIG  3. 

How  to  set  out  flutes  and  fillets  of  a column.  Draw  the  lines  a b,  and  c d through 
the  centre  of  the  column,  and  at  right  angles  with  each  other  ; divide  the  circum- 
ference of  the  column  into  ninety  six  equal  parts  ; with  one  and  one  half  of  those 
parts  in  your  compasses,  and  on  the  lines  a b,  and  c d,  at  3,  3,  3,  3,  describe  the 
flutes  ; the  circle  r o s g,  is  the  size  of  the  column  at  its  neck,  where  the  flutes  and 
fillets  are  divided,  by  drawing  each  line  of  the  fillets  across  it,  pointing  to  the  centre. 

FIG,  4. 

Shows  how  to  set  out  flutes,  without  fillets,  on  the  Doric  column.  Divide  the 
circumference  into  twenty  equal  parts  ; with  three  fourths  of  one  of  those  parts,  on 
the  points  5 and  4,  make  the  intersection^  and  on  f describe  the  flute  5 4;  dab 
C eg  hi  j and  k,  are  also  centres  for  drawing  the  other  flutes  ; n or,  is  the  size  of 
the  column  at  its  neck. 


18 


THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  8. 

FIG.  X. 

To  draw  the  Ionic  volute.  Draw  a geometrical  square  within  the  eye  of  the  vo- 
lute, and  bisect  its  sides  in  the  points  1 3,  and  2 4 ; and  from  those  points,  draw 
the  lines  1 3,  and  2 4 ; divide  each  of  them  into  six  equal  parts  ; see  A,  the  eye,  at 
large ; place  one  foot  of  the  compasses  at  1 , on  the  side  of  the  geometrical  square, 
and  extend  the  other  to  d,  and  draw  the  arch  d e ; then  with  the  distance  2 <?,  and 
on  2,  describe  the  arch  e J ; on  3,  and  with  the  distance  3 f describe  the  arch  f g ; 
with  the  distance  4 g , and  on  4,  describe  the  arch  g i ; and  with  the  distance  5 
and  on  5,  describe  t k ; and  with  the  distance  6 k,  describe  k n ; and  with  the  dis- 
tance 7 n,  describe  no;  and  with  the  distance  8 o,  describe  cm;  and  with  the  dis- 
tance 9 m,  describe  m r ; with  10  r,  describe  rs;  with  1 1 s,  describe  s t ; with  12  t, 
describe  t u ; and  on  n , describe  d a,  which  completes  the  outside  line. 

To  describe  the  inside  line,  which  diminishes  the  fillet,  divide  1 5 in  A,  into  five 
equal  parts,  and  set  one  of  them  from  123456789  10  11  and  12,  toward  the 
centre  of  the  eye,  which  will  be  the  twelve  centres  for  drawing  the  inside  line. 

FIG  2. 

To  draw  the  representation  of  an  elliptical  volute.  Draw  the  line  b a,  cutting  the 
eye  in  its  centre ; divide  2 g , the  diameter  of  the  eye,  into  six  equal  parts  ; on  g , 
with  the  distance  g a,  describe  a half  circle  a b ; on  2,  and  with  the  distance  2 b , 
describe  the  circle  be;  on  3,  and  with  the  distance  3 c,  describe  c d ; on  4,  and 
with  the  distance  4 d,  describe  de  ; on  5,  and  with  the  distance  5 e,  describe  e f ; 
on  6,  and  with  the  distance  6 f describe  f g ; to  draw  the  inside  line,  divide  one 
sixth  of  the  diameter  of  the  eye  into  five  parts,  and  set  one  of  them  from  g 2 3 4 5 
and  6,  toward  the  centre  of  the  eye,  which  will  be  the  centres  for  drawing  the  inside- 
line.  B,  is  the  eye  at  large. 


8 


9 


10 


THE  AMERICAN  BUILDER’S  COMPANION. 


19 


PLATES  9 and  10. 

On  plate  9,  are  fifteen,  and  on  the  lower  part  of  plate  10,  are  six  designs  for 
mouldings,  all  of  which  have  their  particular  parts  figured  ; and  the  centres  for 
drawing  their  curves,  are  marked  on  the  plates,  which,  1 think,  will  make  them  suffi- 
ciently plain,  without  any  further  explanation. 

PL\TE  10. 

To  describe  the  quirk  ovolo,  A.  With  one  fourth  of  i k in  your  compasses,  and 
on  d,  which  is  two  and  one  half  parts  from  the  line  i A*,  describe  the  arch  n e,  with 
the  distance  a b ; from  a and  e,  make  the  point  of  intersection  ate;  on  c,  describe 
the  arch  a e,  which  completes  the  moulding. 

The  above  directions  will  be  observed  in  describing  B and  C ; the  only  differ- 
ence in  them  is,  their  projections  ; A,  projects  four  parts,  B,  five  parts,  and  C,  six 
parts. 

To  draw  the  quirk  ovolo  D,  and  the  hollow  E.  Draw  the  lines  a b in  D and  E, 
and  divide  a b in  F,  into  eight  parts  ; draw  lines  from  each  of  those  parts,  at  right 
angles  with  a b in  F,  and  parallel  to  the  fillets  of  D and  E,  cutting  the  lines  a b in 
D and  E,  at  2 4 9 7 10  12  and  14 ; transfer  the  distances  1 2,  3 4,  5 9,  6 7,  8 10, 
11  12,  13  14,  in  F,  to  1 2,  3 4,  5 9,  6 7,  8 10,  11  12,  13  14  in  D and'E,  and  by 
those  points  trace  their  curves  and  they  are  complete.  In  the  same  way  may  those 
mouldings  be  drawn  to  any  projection. 


2G 


THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  9. 

NAMES  OF  MOULDINGS. 

A,  cavetto,  or  hollow  ; B,  cavetto  and  astrigal  ; C,  ovolo  and  fillet ; D,  ovolo 
and  astrigal  ; E,  cimareversa,  or  ogee ; F,  cimareversa  and  bead  ; G,  astrigal  ; 
H,  bead  ; I,  cimarecta  ; K,  L,  and  M,  are  scoties  of  different  projections  and 
curves  ; N,  O,  P,  are  quirk  ogees. 

Note.  If  mouldings  are  only  composed  of  parts  of  a circle,  and  straight  lines, 
they  are  called  Roman  ; because  the  Romans,  in  their  buildings,  seldom,  or  never, 
employed  any  other  curve  for  mouldings,  than  that  of  a circle  ; but  if  a moulding  is 
made  of  part  of  an  ellipsis,  or  a parabola,  or  an  hyperbole,  the  mouldings  are  then 
in  the  Grecian  taste  ; hence  it  appears,  that  mouldings  of  the  Grecian  taste,  are  of 
much  greater  variety  than  those  of  the  Roman,  where  only  parts  of  circles  are  con- 
cerned. 

Although  I have  made  use  of  the  Roman  ovolo  and  ogee  in  all  the  orders,  I do 
not  generally  use  them  in  practice  ; the  bending,  or  turning  inward,  of  the  upper 
edge  of  the  Grecian,  or  quirk  ovolo,  when  the  sun  shines  on  its  surface,  causes  a 
beautiful  variety  of  light  and  shade,  which  greatly  relieves  it  from  plane  surfaces ; 
and  if  it  is  entirely  in  shadow,  but  receive  a reflected  light,  the  bending,  or  turn- 
ing inward,  at  the  top,  will  cause  it  to  contain  a greater  quantity  of  shade  in  that 
place,  but  softened  downward  around  the  moulding  to  the  under  edge.  In  the 
Roman  ovolo  there  is  no  turning  inward,  at  the  top  ; therefore,  when  the  sun  shines 
on  its  surface,  it  will  not  be  so  bright,  on  its  upper  edge,  as  the  Grecian  ovolo  ; nor 
will  it  cause  so  beautiful  a line  of  distinction  from  the  other  mouldings,  with  which 
it  is  combined,  when  it  is  in  shadow,  and  when  lighted  by  reflection. 

In  the  Greek  ogee,  the  turning  in  of  its  upper  edge,  and  the  turning  out  of  its 
under  edge,  will,  when  the  sun  shines  bright,  cause  it  to  be  very  bright  on  these 


THE  AMERICAN  BUILDER’S.  COMPANION. 


SI 


edges,  which  will  greatly  relieve  it  from  other  perpendicular  surfaces  when  com- 
bined together  ; and  when  it  is  in  shadow,  and  lighted  by  reflection,  the  inclina- 
tion of  the  upper  and  under  edges  will  also  make  a strong  line  of  distinction,  on 
both  edges,  between  it  and  other  mouldings,  or,  of  planes  connected  with  it ; where- 
as the  upper  and  under  edges  of  the  Roman  ogee,  being  perpendicular  to  the  hori- 
zon, the  lightest  place  on  its  surface  will  not  be  lighter  than  a perpendicular  plane 
surface ; nor  will  it  be  better  relieved  in  shadow  than  perpendicular  plane  surfaces, 
also  in  shadow. 


THE  AMERICAN  BL’II.DER’S  COMPANION. 


33 


PLATE  ll. 

FIG.  1. 

To  describe  the  Grecian  ovolo,  the  tangent  a b , at  the  bottom,  and  the  point  of 
contact  a,  and  the  greatest  projection  of  the  moulding  at  c,  being  given.  From  a, 
draw  a d e,  perpendicular ; through  c,  draw  c b parallel  to  it  ; also,  through  c,  draw 
c d parallel  to  the  tangent  b a,  cutting  a e at  d ; make  d e equal  to  a d , then  will  d 
be  the  centre  of  an  ellipsis,  and  c d,  and  d a,  will  be  two  semiconjugate  diameters, 
from  which  the  ellipsis  may  be  described  ; divide  b c , and  c d,  each  into  a like  num- 
ber of  equal  parts  ; from  the  point  a,  and  through  the  points  1,  2,  3,  in  b c,  draw 
lines ; also  from  e,  through  the  points  1,  2,  3,  in  c d,  draw  lines  cutting  the  former 
at  4,  5,  6,  which  will  give  the  points  through  which  the  curve  is  to  be  traced. 

FIG.  2. 

This  figure  is  described  in  the  same  manner  as  fig.  1.  It  has  a greater  projec- 
tion, the  tangent  being  also  taken  in  a higher  position. 

FIG.  3. 

To  describe  a scotia.  Join  the  ends  of  each  fillet  by  the  right  line  a b ; bisect 
a b at  d ; through  d,  draw  c d e parallel  to  the  fillets,  and  make  c d , and  d e , each 
equal  to  the  depth  of  the  scotia  ; divide  da,  d b,  bf  and  a g\eaeh  into  a like  num- 
ber of  equal  parts ; from  the  point  e , and  through  the  points  1,  2,  3,  in  a g,  and  b f 
draw  lines  ; also  from  c,  through  the  points  1,  2,  3,  in  da,  and  d b,  draw  lines,  cut- 
ting the  former  at  the  points  4,  5,  6,  and  7,  8,  9,  through  which  points  the  curve  is 
to  be  traced. 

FIG.  4,  5,  and  6. 

Draw  gf,  a continuation  of  the  upper  side  of  the  under  fillet ; through  b,  draw 
b g,  perpendicular  to  gf,  cutting  it  at  g,  and  the  tangent  f c,  at  the  point  c ; also 
through  b,  draw  b e parallel  to  gf  and  through f draw  f e d a,  parallel  to  g b,  cut- 
ting be  at  e ; make  e a equal  to  ef  ; e d equal  to  c g,  and  join  b d ; then  divide 
each  of  the  lines  b c , and  b d,  into  a like  number  of  equal  parts  ; from  the  point  f 


1L 


THE  AMERICAN  BUILDER’S  COMPANION. 


and  through  the  points  1,  2,  3,  4,  in  b c,  draw  lines  ; also  from  a,  through  the 
points  1,  2,  3,  4,  in  b d,  draw  lines,  cutting  the  former,  which  will  give  the  points 
required,  by  which  to  trace  the  curve. 

N.  B.  By  these  means  you  may  make  a moulding  to  any  form  you  please,  whether 
flat,  or  round.  The  difference  produced  in  the  curves  of  figs.  5,  and  6,  from  that 
of  4,  is  occasioned  by  the  tangent  line/c,  cutting  g b,  nearer  to  b,  in  figs.  5,  and  6, 
than  in  fig.  4. 


THE  AMERICAN  BUILDER’S  COMPANION 


'->4 


THE  ORIGIN  OF  BUILDING, 

Buildings  were  certainly  among  the  first  wants  of  mankind  ; and  architecture 
must,  undoubtedly,  be  classed  among  the  earliest  antediluvian  arts.  Scripture  in- 
forms us,  that  Cain  built  a city  ; and  soon  after  the  deluge  we  hear  of  many  cities, 
and  of  an  attempt  to  build  a tower  that  should  reach  the  sky.  A miricle  stopped 
the  progress,  and  prevented  the  completion  of  that  bold  design. 

The  first  men,  living  in  a warm  climate,  wanted  no  habitations  ; every  grove  af- 
forded shade  from  the  rays  of  the  sun,  and  shelter  from  the  dews  of  the  night ; rain 
fell  but  seldom,  nor  was  it  ever  sufficiently  cold  to  render  closer  dwellings  than 
groves,  either  desirable  or  necessary,  even  in  the  hours  of  repose.  They  fed  upon 
the  spontaneous  productions  of  the  soil,  and  lived  without  care,  and  without  labour. 

But  when  the  human  species  increased,  and  the  produce  of  the  earth,  however^* 
luxuriant,  was  insufficient  to  supply  the  requisite  food.  When  frequent  disappoint- 
ments drew  on  contention,  with  all  its  train  of  calamities,  then  separation  became 
necessary,  and  colonies  dispersed  to  different  regions,  where  frequent  rains,  storms, 
and  piercing  cold,  forced  the  inhabitants  to  seek  for  better  shelter  than  trees. 

At  first  they  most  likely  retired  to  caverns,  formed  by  nature  in  rocks  ; to  hollow 
trunks  of  trees  ; or  to  holes,  dug  by  themselves  in  the  earth  ; but  soon  disgusted 
with  the  damp  and  darkness  of  these  habitations,  they  began  to  search  after  more 
wholesome  and  comfortable  dwellings. 

The  animal  creation  pointed  out  both  materiels  and  manners  of  construction. 
Swallows,  rooks,  bees,  and  storks,  were  the  first  builders.  Man  observed  their  in- 
stinctive operations  ; he  admired  ; he  imitated  ; and  being  endued  with  reasoning 
faculties,  and  of  a structure  suited  to  mechanical  purposes,  he  soon  outdid  his  mas- 
ters in  the  builder’s'  art. 

Rude  and  unseemly,  doubtless,  were  the  first  attempts  ; withont  experience  or 
tools,  the  builder  collected  a few  bows  of  trees,  spread  them  in  a conic  shape,  and 
covering  them  with  rushes  or  leaves,  and  day,  formed  his  hut  ; sufficient  to  shel- 
ter its  hardy  inhabitants  at  night,  or  in  seasons  of  bad  weather.  But  in  the  course 


THE  AMERICAN  BUILDER’S  COMPANION, 


25 

of  time,  man  naturally  grew  more  expert  ; they  invented  tools  to  shorten  and  im- 
prove labour  ; fell  upon  neater,  more  durable  modes  of  construction  ; and  forms, 
better  adapted  than  the  cone,  to  the  purposes  for  which  their  huts  were  intended. 
They  felt  the  want  of  convenient  habitations,  wherein  to  taste  the  comforts  of  pri- 
yacy,  to  rest  securely,  and  be  effectually  screened  from  troublesome  excesses  of 
weathers.  They  wanted  room  to  exercise  the  arts,  to  which  necessity  had  given 
birth  ; to  deposit  the  grain  that  agriculture  enabled  them  to  raise  in  abundance  ; to 
secure  the  flocks  which  frequent  disappointments  in  the  chace,  had  forced  them  to 
collect  and  domesticate.  Thus  stimulated,  their  fancy  and  hands  went  arduously  to 
work,  and  the  progress  of  improvement  was  rapid. 

That  the  primative  hut  was  of  a conic  figure,  it  is  reasonable  to  conjecture  ; for 
of  that  form  do  the  American  aborigines  build  their  wigwarms  ; and  from  its  being 
simplest  of  the  solid  forms,  and  most  easily  constructed.  And  wherever  wood  was 
found,  they  probably  built  in  the  manner  above  described  ; but,  soon  as  the  inhabi- 
tants discovered  the  inconvenience  of  the  inclined  sides,  and  the  want  of  upright 
space  in  the  cone,  they  changed  it  for  the  cube  ; and  as  it  is  supposed,  proceeded 
in  the  following  manner. 

Having,  says  Vitruvius,  marked  out  the  space  to  be  occupied  by  the  hut,  they 
fixed  in  the  ground  several  upright  trunks  of  trees  to  form  the  sides,  filling  the  in- 
tervals between  them  with  branches,  closely  interwoven,  and  spread  over  with  clay. 
The  sides  thus  completed,  four  beams  were  laid  on  the  upright  trunks,  which,  being 
well  fastened  together  at  the  angles  of  their  junction,  kept  the  sides  firm  ; and  like- 
wise served  to  support  the  covering,  or  roof  of  the  building,  composed  of  smaller 
trees,  placed  horizontally  like  joists  ; upon  which,  were  laid  several  beds  of  reeds, 
leaves,  and  earth,  or  clay. 

By  degrees,  other  improvements  took  place  ; and  means  were  found  to  make  the 
fabric  lasting,  neat,  and  handsome,  as  well  as  convenient.  The  bark  and  other  pro- 
tuberances were  taken  from  the  trees  that  formed  the  sides  ; these  trees  were  raised 
above  the  dirt  and  humidity,  on  stones  ; were  covered  at  the  top  with  other  stones, 
and  firmly  bound  round  at  both  ends  with  ozier,  or  cords,  to  secure  them  from 
splitting.  The  spaces  between  the  joists  of  the  roof,  were  closed  up  with  clay  or 
wax,  and  the  ends  of  them  either  smoothed,  or  covered  with  boards.  The  differ- 


THE  AMERICAN  BUILDER’S  COMPANION. 


26 

ent  beds  of  materials  that  composed  the  covering,  were  cut  straight  at  the  eaves, 
and  distingished  from  each  other  by  different  projections.  The  form  of  the  roof 
too  was  altered  ; for  being,  on  account  of  its  flatness,  unfit  to  throw  off  the  rains 
which  sometimes  fell  in  great  abundance,  it  was  raised  in  the  middle,  on  trees  dis- 
posed like  rafters,  after  the  form  of  a gable  roof. 

This  construction,  simple  as  it  appears,  probably  gave  birth  to  most  of  the  parts 
that  now  adorn  our  buildings  ; particularly  to  the  orders,  which  may  be  considered 
as  the  basis  of  the  whole  decorative  part  of  architecture  ; for  when  structures  of 
wood  were  set  aside,  and  men  began  to  erect  solid,  stately  edifices  of  stone,  having 
nothing  nearer  to  imitate,  they  naturally  copied  the  parts  which  necessity  introduc- 
ed in  the  primitive  hut  ; insomuch  that  the  upright  trees,  with  the  stones  and  cord- 
age at  each  end  of  them,  were  the  origin  of  columns,  bases,  and  capitals  ; the  beams 
and  joists,  gave  rise  to  architraves  and  friezes,  with  their  triglyphs  and  metopes  ; and 
the  gable  roof  was  the  origin  of  pediments ; as  the  beds  of  materials,  forming  the 
covering,  and  the  rafters  supporting  them,  were  of  cornices  ; with  their  corona, 
their  mutules,  modillions,  and  dentils. 


OF  THE  PARTS  WHICH  COMPOSE  1*HE  ORDERS  OF  ARCHITECTURE,  AND  OF  THEIR  PROPER- 
TIES, APPLICATION,  AND  EMBELLISHMENTS. 

As,  in  many  other  arts,  so  in  architecture,  there  are  certain  elementary  forms, 
which,  though  simple  in  their  nature,  and  few  in  number,  are  the  principal  con- 
stituent object  of  every  composition,  however  complicated  or  extensive  it  may  be. 

Of  these  there  are,  in  this  art,  two  distinct  sorts ; the  first  consisting  of  such  parts, 
as  represent  those  that  were  essentially  necessary  in  the  construction  of  the  primi- 
tive huts  ; as  the  shaft  of  the  column,  with  the  plinth  of  its  base,  and  the  abacus  of 
its  capital,  representing  the  upright  trees,  with  the  stones  used  to  raise,  and  to  cover 
them.  Likewise  the  architrave  and  triglyph,  representing  the  beams  and  joists  ; 
the  mutules,  modillions,  and  dentils,  either  representing  the  rafters,  or  some  other 
pieces  of  timber  employed  to  support  the  covering  ; and  the  corona,  representing 
the  beds  of  materials  which  composed  the  covering  itself.  All  these-  are  properly 


THE  AMERICAN  BUILDER’S  COMPANION. 


27 


distinguished  by  the  appellation  of  essential  parts,  and  from  the  first  Class.  The 
subservient  members,  contrived  for  the  use  and  ornament  of  these,  and  intended 
cither  to  support,  to  shelter,  or  to  unite  them  gracefully  together,  which  are  usually 
called  mouldings,  constitute  the  second  class. 

Of  regular  mouldings,  there  are  eight,  which  are,  the  fillet,  the  astragal  or  bead, 
the  cimareversa  or  ogee,  the  cimerecta,  the  cavetto  or  hollow,  the  ovolo  or  quarter 
round,  the  scotia,  and  the  torus. 

The  names  of  these  are  allusive  to  their  forms  ; and  the  forms  are  adapted  to 
the  uses  which  they  are  intended  to  serve.  The  ovolo  and  ogee,  being  strong  at 
their  extremities,  are  fit  for  supports  ; the  cimarecta  and  cavetto,  though  improper 
for  that  purpose,  as  they  are  weak  in  the  extreme  parts,  and  terminate  in  a point, 
are  well  contrived  for  coverings  to  shelter  other  members  ; the  tendency  of  their 
outline  being  very  opposite  to  the  direction  of  falling  water,  which,  for  that  reason, 
cannot  glide  along  their  surface,  but  must  necessarily  drop.  The  torus  and  astra- 
gal, shaped  like  ropes,  are  intended  to  bind  and  strengthen  the  parts  on  which  they 
are  employed  ; and  the  use  of  the  fillet  and  scotia,  is  only  to  separate,  contrast,  and 
strengthen  the  effect  of  the  other  mouldings  ; to  give  a graceful  turn  to  the  profile  ; 
and  to  prevent  that  confusion,  which  would  be  occasioned  by  joining  several  convex 
members  together. 

An  assemblage  of  essential  parts  and  mouldings,  is  termed  a profile  ; and  on  the 
choice,  dispositions,  and  proportions  of  these,  depend  the  beauty  or  deformity  of 
the  composition.  The  most  perfect  profiles,  are  such  as  consist  of  few  mouldings, 
varied  both  in  form  and  size  ; fitly  applied,  with- regard  to  their  uses,  and  so  distri- 
buted, that  the  straight  and  curved  ones,  succeed  each  other  alternately.  In  every 
profile,  there  should  be  a predominant  member,  to  which  all  the  others  ought  to 
seem  subservient  ; and  made,  either  to  support,  to  fortify,  or  to  shelter  it  from  in- 
juries of  weather  ; and  whenever  the  profile  is  considerable,  or  much  complicated, 
the  predominant  should  always  be  accompanied  with  one,  or  more,  other  principal 
members  ; in  form  and  dimension,  calculated  to  attract  the  eye  ; create  momentary 
pauses  ; and  assist  the  perception  of  the  beholder.  These  predominant  and  princi- 
pal members,  ought  always  to  be  of  the  essential  class'}  and  generally  rectangular. 
Thus,  in  a cornice,  the  corona  predominates  ; the  modillions  and  dentils  are  prin- 


THE  AMERICAN  BUILDER’S  COMPANION. 


38 

cipals  in  the  compositions  ; the  cimarecta  and  cavetto,  cover  them  ; the  ovolo  and 
ogee,  support  them. 

When  ornaments  are  employed  to  decorate  a profile,  some  of  the  mouldings 
should  always  be  left  plain,  in  order  to  form  a proper  repose  ; for  when  all  are  en- 
riched, the  figure  of  the  profile  is  lost  in  confusion.  In  an  entablature,  the  corona 
should  not  be  ornamented  ; nor  the  modillion  band  ; neither  should  the  plinths  of 
columns,  fillets,  nor  scarcely  any  square  members  be  carved ; for,  generally  speak- 
ing, they  are  cither  principal  in  the  composition,  or  used  as  boundaries  to  other 
parts  ; in  both  which  cases,  their  figures  should  be  simple,  distinct,  and  unembar- 
rassed. The  dentil  band  should  remain  uncut,  where  the  ovolo  and  ogee  immedi- 
ately above  and  below  it  are  enriched ; for  when  the  dentils  are  marked,  the  three 
members  are  confounded  together,  and  being  covered  with  ornaments,  become  far 
too  rich  for  the  remainder  of  the  composition,  which  are  defects,  at  all  times,  studi- 
ously to  be  avoided  ; as  a distinct  outline,  and  an  equal  distribution  of  enrichments, 
must,  on  every  occasion,  be  strictly  attended  to. 

Ornaments  should  neither  be  too  frugally  employed,  nor  distributed  with  too 
much  profusion  ; their  value  will  increase,  in  proportion  to  the  judgment  and  dis- 
cretion shown  in  their  application. 

Variety  in  ornaments  should  not  be  carried  to  an  excess.  In  architecture  they 
are  only  accessaries ; and  therefore  they  should  not  be  too  striking,  nor  capable  of 
long  detaining  the  attention  from  the  main  object.  Those  of  the  mouldings  in  par- 
ticular, should  be  simple,  uniform,  and  never  composed  of  more  than  two  different 
representations  upon  each  moulding  ; which  ought  to  be  cut  each  equally  deep  ; be 
formed  of  the  same  number  of  parts  ; all  nearly  of  the  same  dimensions,  in  order 
to  produce  one  even  uninterrupted  hue  throughout  ; that  so  the  eye  may  not  be 
more  strongly  attracted  by  any  part  in  particular,  than  by  the  whole  composition. 

All  the  ornaments  in  the  entablature  are  to  be  governed  by  the  modillions,  or 
mutules  ; and  the  distribution  of  these  must  depend  on  the  intervals  of  the  columns ; 
and  be  so  disposed,  that  one  of  them  may  come  directly  over  the  axis  of  each  col- 
umn. It  is  farther  to  be  observed,  that  the  ornaments  must  partake  of  the  character 
of  the  order  they  enrich  ; those  used  in  the  Doric  and  Ionic  orders,  are  to  be  of  sim- 
ple forms,  and  of  larger  bulk  than  those  employed  in  the  Corinthian  or  Composite. 


THE  AMERICAN  BUILDER'S  COMPANION. 


S9 


When  friezes,  or  other  larger  members,  are  to  be  enriched,  the  ornaments  may 
be  significant,  and  serve  to  indicate  the  destination;  or  use  of  the  building  ; the 
rank,  qualities,  profession,  and  achievements  of  the  owner. 

in  sacred  places,  all  obscene,  grotesque,  and  heathenish  representations  ought  to 
be  avoided  ; for  indecent  fables,  extravagant  conceits,  or  instruments  and  symbols 
of  pagan  worship,  are  very  improper  ornaments  in  structures  consecrated  to  Christ- 
ian devotion. 

With  regard  to  the  manner  of  executing  ornaments,  it  is  to  be  remembered,  that, 
as  in  sculpture,  drapery  is  not  estimable,  unless  its  folds  are  contrived  to  grace  and 
indicate  the  parts  and  articulations  of  the  body  it  covers  ; so  in  architecture,  the 
most  exquisite  ornaments  lose  all  their  value,  if  they  load,  alter,  or  confuse  the  form 
they  are  designed  to  enrich  and  adorn. 

The  method  of  the  ancient  sculptors,  in  the  execution  of  architectonic  ornaments, 
Was,  to  aim  at  a perfect  representation  of  the  object  they  chose  to  imitate  ; so  that 
the  chesnuts,  acorns,  or  eggs,  with  which  the  ovolo  is  commonly  enriched,  are,  in 
the  antiques,  cut  round,  and  almost  entirely  detached ; as  are  likewise  the  berries, 
or  beads,  on  the  astragal,  which  are  generally  as  much  hollowed  into  the  solid  of 
the  body,  as  the  moulding  projects  beyond  it ; but  the  leaves,  shells,  and  flowers, 
that  adorn  the  cavetto,  cima,  ogee,  and  torus,  are  kept  flat,  like  the  things  they 
represent. 

In  the  application  of  their  ornaments,  they  observed  to  use  such  as  required  a 
considerable  relief,  on  mouldings,  that  in  themselves  are  clumsy,  as  the  ovolo  and 
astragal  ; which,  by  means  of  the  deep  incisions  made  in  them  to  form  these  enrich- 
ments, acquired  an  extraordinary  lightness  ; but  on  more  elegant  parts,  as  the 
cavetto,  and  cima,  they  employed  thin  bodies,  which  could  be  represented  without 
entering  too  far  into  the  solid.  The  ornaments  of  their  cornices  were  boldly  mark- 
ed, that  they  might  be  distinguished  from  afar  ; but  those  of  the  basis  of  columns, 
or  of  pedestals,  being  nearer  the  eye,  were  more  slightly  expressed  ; as  well  on  that 
account,  as  because  it  would  have  been  improper  to  weaken  these  parts,  and  im- 
possible to  keep  them  clean,  had  there  been  any  deep  cavities  in  them,  to  harbour 
dust  or  filth. 


BO 


THE  AMERICAN  BUILDER’S  COMPANION. 


When  objects  are  near,  and  liable  to  close  inspection,  every  part  of  the  ornament 
should  be  expressed,  and  well  finished  ; but  when  they  are  much  exalted,  the  de- 
tail may  be  slightly  touched,  or  entirely  neglected  ; for  it  is  sufficient  if  the  general 
form  be  distinct,  and  the  principal  masses  strongly  marked.  A few  rough  strokes 
from  the  hand  of  a skilful  master,  are  much  more  effectual  than  the  most  elaborate 
finishings  of  an  artless  imitator  ; which,  seldom  consisting  in  more  than  smoothing 
and  neatly  rounding  off  the  parts,  are  calculated  to  destroy,  rather  than  to  produce 
effect. 


OF  THE  ORDERS  OF  ARCHITECTURE  IN  GENERAL. 

The  orders  of  architecture,  as  has  been  observed,  are  the  basis  upon  which  the 
whole  decorative  part  of  the  art  is  chiefly  built,  and  toward  which  the  attention  of 
the  artist  must  ever  be  directed,  even  where  no  orders  are  introduced.  In  them, 
originate  most  of  the  forms  used  in  decoration  ; they  regulate  most  of  the  propor- 
tions ; and  to  their  combination,  multiplied,  varied,  and  arranged,  in  a thousand  dif- 
ferent ways,  architecture  is  indebted  for  its  most  splendid  productions. 

These  orders  are  different  modes  of  building,  said,  originally  to  have  been  imi- 
tated from  the  primitive  huts  ; being  composed  of  such  parts  as  were  essential  in 
their  construction,  and  afterward  also  in  the  temples  of  antiquity  ; which,  though  at 
first  simple  and  rude,  were,  in  the  course  of  time,  and  by  the  ingenuity  of  succeed- 
ing architects,  wrought  up  and  improved,  to  such  a pitch  of  perfection,  that  they 
were,  by  way  of  excellence,  distinguished  by  the  name  of  orders. 

Of  these  there  are  five  ; three  said  to  be  of  Grecian  origin,  are  called  Grecian  or- 
ders ; being  distinguished  by  the  names  of  Doric,  Ionic,  and  Corinthian  ; they  ex- 
hibit three  distinct  characters  of  composition  ; supposed  to  have  been  suggested  by 
the  diversity  of  character  in  the  human  frame.  The  remaining  two,  being  of  Ital- 
ian origin,  are  called  Latin  orders  ; they  are  distinguished  by  the  names  of  Tuscan 
and  Roman,  and  were  probably  invented  with  a view  of  extending  the  characteristic 


THE  AMERICAN  BUILDER’S  COMPANION. 


31 


bounds,  on  one  side,  still  farther  toward  strength  and  simplicity  ; as  on  the  other 
toward  elegance  and  prolusion  of  enrichments. 

At  what  tune  the  orders  were  invented,  or  by  whom  improved  to  the  utmost,  re- 
mains, at  least,  doubtful.  And  of  their  origin  little  is  known  but  from  the  relation 
of  Vitruvius  ; the  veracity  of  which  has  been  much  questioned,  and  is,  probably, 
not  much  to  be  depended  on. 

“ Dorus,”  says  he,  “son  of  Helenes  and  the  nymph  Optica,  king  of  Achaia  and 
of  all  the  Peloponnesus,  having  formerly  built  a temple  to  Juno,  in  the  ancient  city 
of  Argos  ; this  temple  happened  to  be  in  the  manner  which  is  called  Doric  ; and 
was  afterward  imitated  in  many  others,  built  in  the  several  cities  of  Achaia. 

“ About  the  same  time,  the  Athenians,  after  having  consulted  the  oracle  of  Apol- 
lo, at  Delphos,  by  the  common  consent  of  all  Greece,  sent  into  Asia  thirteen  colo- 
nies, each  under  the  command  of  a separate  captain  ; but  all  under  the  general  di- 
rection of  Ion,  son  of  Xuthus  and  Creusa.  Ion  being  arrived  in  Asia,  conquered 
all  Caria,  and  founded  thirteen  large  cities  ; the  inhabitants  whereof,  having  expelled 
the  Carians  and  Leleges,  called  the  country  Ionia,  in  honor  of  Ion,  their  lead  r ; 
and  erected  temples,  of  which  the  first,  dedicated  to  Apollo  Panionius,  was  built  af- 
ter the  manner  of  those  they  had  seen  in  Achaia,  which  they  called  Doric,  because 
temples  of  the  same  sort  had  been  erected  in  the  cities  of  the  Dorians. 

“But  some  time  after,  building  a temple  to  Diana,  different  from  these,  and  of 
a more  delicate  structure  ; being  formed  upon  the  proportions  of  a female  body,  as 
the  Doric  had  been  on  those  of  a robust  man  ; and  adorning  the  capitals  of  their  col- 
umns with  volutes,  to  represent  the  curies  of  a woman’s  hair  ; and  the  shafts  with 
{lutings,  to  express  the  folds  of  her  garment-  They  gave  to  this  second  manner 
of  building  the  name  of  Ionic  ; because  it  was  invented,  and  first  used  by  the  lo- 
nians. 

“ The  third  sort  of  columns,  which  are  called  Corinthian,  and  represent  the  del- 
icate figure  of  a young  girl,  owe  their  birth  to  the  following  accident. 

“ A young  woman  of  Corinth  being  dead,  her  nurse  placed  on  her  tomb  a bask- 
et, containing  certain  trinkets  in  which  she  delighted,  when  alive  ; covering  it  with  a 
tile  to  shelter  them  from  the  weather.  The  basket  happen*  d accidentally  to  be  set 
on  a root  of  the  acanthus,  which,  pushing  forth  its  leaves  and  sprigs  in  the  spring, 


32 


THE  AMERICAN  BUILDER’S  COMPANION. 


covered  the  sides  of  it  ; and  some  of  them,  longer  than  the  rest,  being  obstructed 
by  the  angles  of  the  tile,  were  forced  downward,  and,  by  degrees,  curled  into  the 
form  of  volutes. 

“ Callimachus,  a celebrated  sculptor,  passing  near  the  tomb,  observed  the  basket, 
and  in  how  graceful  a manner  the  leaves  of  the  acanthus  had  surrounded  it ; the 
form  pleased  him  exceedingly ; he  imitated  it  on  the  tops  of  some  columns,  which 
he  afterward  executed  at  Corinth  ; establishing  and  regulating,  by  this  model,  the 
manner  and  proportions  of  the  Corinthian  order.” 

Of  the  two  Latin  orders,  the  Tuscan  is  said  to  have  been  invented  by  the  inhabi- 
tants of  Tuscany,  before  the  Romans  had  intercourse  with  the  Greeks,  or  were  ac- 
quainted with  their  arts  ; whence  it  is  called  Tuscan.  Probably,  however,  these 
people,  originally  a colony  of  Greeks,  only  imitated,  in  the  best  manner  they  could, 
what  they  remembered  m their  own  country  ; simplifying  the  Doric,  either  to  ex- 
pedite their  work,  or  perhaps,  to  adapt  it  to  the  abilities  of  their  workmen. 

The  second  Latin  order,  though  of  Roman  production,  is  but  of  modern  adop- 
tion ; the  ancients  never  having  considered  it  as  a distinct  order.  It  is  a mixture 
of  the  Ionic  and  Corinthian  ; and  is  now  distinguished  by  the  names  of  Roman,  or 
Composite. 

The  ingenuity  of  man  has,  hitherto,  not  been  able  to  produce  a sixth  order, 
though  large  premiums  has  been  offered,  and  numerous  attempts  been  made,  by 
men  of  the  first  rate  talents  to  accomplish  it.  Such  is  the  fettered  human  imagina- 
tion ; such  the  scanty  store  of  its  ideas,  that  Doric,  Ionic,  and  Corinthian,  have 
ever  floated  uppermost  ; and  all  that  has  ever  been  produced,  amounts  to  nothing 
more  than  different  arrangements  and  combinations'  of  their  parts. 

An  order  is  composed  of  two  principal  members  ; the  column,  and  the  entabla- 
ture ; each  of  which  is  divided  into  three  principal  parts.  Those  of  the  column, 
are  the  base,  the  shaft,  and  the  capital.  Those  of  the  entablature,  are  the  architrave, 
the  frieze,  and  the  cornice.  All  these  are  again  subdivided  into  many  smaller  parts  ; 
the  disposition,  number,  forms,  and  dimensions,  of  which,  characterize  each  or- 
der, and  express  the  degree  of  strength  or  delicacy,  richness  or  simplicity  peculiar 
to  it. 


THE  AMERICAN  BUILDER'S'  COMPANION. 


33 


The  simplest,  and  most  s did  of  all,  is  the  Tuscan.  It  is  composed  of  few,  and 
large  parts,  devoid  of  ornaments  ; and  is  of  a construction  so  massive,  that  it  seems 
capable  of  supporting  the  heaviest  burdens. 

There  is  no  regular  example  of  this  order  among  the  remains  of  antiquity.  Pi- 
ranisi  has  given  a dewing  of  a Tuscan  base,  found  at  Rome,  but  of  what  date  is  un- 
certain. Vitruvius,  in  an  indistinct  manner,  has  mentioned  its  general  proportions  ; 
but  through  his  whole  book  does  not  refer  to  one  structure  of  this  order.  The 
Trajan  and  Antonine  columns  at  Rome  are  reckoned  of  the  Tuscan  order;  they 
have  eight  diameters  for  their  height  ; the  torus  and  capitals  are  certainly  more  or- 
namented than  is  consistent  with  Tuscan  plainness.  The  fluting  to  the  necks  also 
are  after  the  most  ancient  Doric  examples.  It  is  somewhat  singular  there  should  be 
no  remains  of  this  order  ; and  w'ere  it  not  for  what  little  Vitruvius  has  written  of  it, 
it  certainly  might  have  been  lost  to  the  modems.  The  plainness  of  its  appearance, 
no  doubt,  caused  it  to  be  neglected  at  Rome  ; but  in  no  other  place  has  been  dis- 
covered any  truly  ancient  example. 

As  this  order  conveys  ideas  of  strength,  and  rustic  simplicity,  it  may  very  prop- 
erly be  used  for  rural  purposes  ; for  farmhouses,  barns,  sheds,  stables,  and  green- 
houses ; for  gates  of  parks  and  gardens  ; for  prisons,  arsenals  ; also,  in  colonades 
and  porticos,  surrounding  squares,  markets,  and  granaries,  or  storehouses  ; and 
generally,  w'hercver  magnificence  is  not  required,  and  expense  is  to  be  avoided. 

The  design,  here  annexed,  and  also  the  Doric,  Ionic,  Corinthian,  and  Composite 
orders,  I have  selected  from  several  authors,  and  have  made  all  the  alterations,  that 
in  my  opinion,  were  necessary  to  render  them  conformable  to  the  practice  of  the 
present  time. 

The  Doric  order,  next  in  strength  to  the  T uscan,  and  of  a grave,  robust,  mascu- 
line aspect,  is,  by  Seamozzi,  called  the  Herculean.  Being  the  most  ancient  of  all 
the  orders,  it  retains  more  of  the  structure  of  the  primitive  huts,  in  its  form,  than 
any  of  the  rest  ; having  triglyphs  in  the  frieze,  to  represent  the  ends  of  joists  ; and 
mutules  in  its  cornice,  to  represent  rafters,  with  inclined  soffits,  to  express  their  di- 
rection in  the  originals,  from  whence  they  were  imitated.  Its  column  too,  is  often 
seen  in  ancient  works,  executed  without  a base,  in  imitation  of  the  trees,  used  in  the 
5 


34 


THE  AMERICAN  BUILDER’S  COMPANION. 


first  buildings,  without  any  plinths  to  raise  them  above  the  ground.  Delicate  or- 
naments are  repugnant  to  its  characteristic  solidity,  and  it  succeeds  best,  in  the 
simple  regularity  of  its  proportions.  Nosegays  and  garlands  of  flowers  grace  not  a 
Hercules,  who  always  appears  more  becomingly,  wirh  a rough  club  and  lion’s  skin. 
For  there  are  beauties  of  various  sorts,  and  often  so  dissimilar,  in  their  natures,  that 
those  which  may  be  highly  proper  on  one  occasion,  may  be  quite  the  reverse,  even 
ridiculously  absurd,  on  others. 

The  ancients  employed  the  Doric  in  temples  dedicated  to  Minerva,  to  Mars,  and 
to  Hercules  ; whose  grave  and  manly  dispositions,  suited  well  with  the  character  of 
this  order.  Serlio,  says  it  is  proper  for  churches  dedicated  to  Jesus  Christ  ; to  St. 
Paul,  St.  Peter,  or  any  other  saints,  remarkable  f^r  their  fortitude,  in  exposing  their 
lives,  and  suffering  for  the  Christian  faith.  It  may  be  employed  in  the  houses  of 
generals,  or  other  martial  men  ; in  mausoleums  erected  to  their  memory  ; likewise 
in  all  kinds  of  military  buildings ; as  arsenals,  gates  of  fortified  places,  guardrooms, 
and  similar  structures. 

The  Ionic,  being  the  second  of  the  Grecian  orders,  holds  a middle  station  be- 
tween the  other  two  ; and  stands  in  equipoise  between  the  grave  solidity  of  the  Dor- 
ic, and  the  elegant  delicacy  of  the  Corinthian.  Among  the  antiques  however,  we 
find  it  in  different  dresses  ; sometimes  more  simple,  and  bordering  on  Doric  plain- 
ness, all  according  to  the  fancy  of  the  architect,  or  nature  of  the  structure  where 
employed.  It  is,  throughout,  of  a more  slender  construction  than  either  of  the  afore- 
described  orders ; its  appearance,  though  simple,  is  graceful  and  majestic  ; its  or- 
naments should  be  few  ; rather  neat  than  luxuriant. 

As  the  Doric  order  is,  particularly  in  churches  or  temples,  dedicated  to  male 
saints,  so  the  Ionic  is  principally  used  in  such  as  are  consecrated  to  females  of  the 
matronal  state.  It  is  likewise  employed  in  courts  of  justice,  in  libraries,  colleges, 
seminaries,  and  other  structures,  having  relation  to  arts  or  letters  ; and  in  private 
houses  ; and  in  all  places  dedicated  to  peace  and  tranquillity.  The  ancients  em- 
ployed it  in  temples  sacred  to  Juno,  to  Bacchus,  to  Diana,  and  other  deities,  whose 
dispositions  held  a medium  between  the  severe  and  the  effeminate. 

The  Corinthian.  Its  proportions  are  elegant  in  the  extreme  ; every  part  of  the 
order  is  divided  into  a great  variety  of  members  ; and  abundantly  enriched  with  a 


THE  AMERICAN  BUILDER’S  COMPANION. 


35 


diversity  of  ornaments.  The  ancients,  says  De  Clutmbray,  aiming  at  the  represen- 
tation of  a feminine  beauty,  omitting  nothing,  either  calculated  to  embellish,  or  ca- 
pable of  perfecting  their  work.  And  he  observes,  that  in  many  examples  left  of 
this  order,  such  a profusion  of  different  ornaments  is  introduced,  that  they  seem  to 
have  exhausted  imagination  in  the  contrivance  of  decorations  for  this  masterpiece  of 
the  art. 

The  ancients  frequently  employed  the  Ionic  entablature  in  the  Corinthian  order, 
as  appears  by  many  of  the  buildings  ; and  sometimes,  according  to  Vitruvius,  even 
the  Doric. 

When  the  modillion  cornice  is  employed  on  large  concave  surfaces,  the  sides  of 
the  modillions  and  coffers  of  the  soffit,  should  tend  toward  the  centre  of  the  curve  ; 
but  when  the  concave  is  small,  it  will  be  better  to  direct  them  toward  the  opposite 
point  in  the  circumference,  that  the  contraction  may  be  less  perceptible,  and  the  parts 
dependant  thereon,  suffer  less  deviation  from  the  natural  form.  The  same  rules 
must  be  observed  with  regard  to  dentils,  to  the  abacus  and  bases  of  columns  or  pi- 
lasters, and  likewise  to  the  flanks  of  the  pilaster  itself.  But  on  a convex  surface, 
the  sides  of  all  these  should  be  parallel  to  each  other  ; for  it  would  be  unnatural, 
and  very  disagreeable,  to  see  them  narrowest  where  they  spring  out  of  the  cornice, 
diverging  as  they  advance  forward,  forming  sharp  angles,  and  a sort  of  mutilated 
triangular  plan,  with  enlarged  solids,  and  diminished  intervals  ; ail  calculated  to  de- 
stroy the  usual  proportions  and  beauty  of  the  composition. 

The  Corinthian  order  is  proper  for  all  buildings,  where  elegance,  gaiety,  and  mag- 
nificence are  required.  The  ancients  employed  it  in  temples  dedicated  to  Venus, 
to  Flora,  Prosepine,  and  the  nymphs  of  fountains  ; because  the  flowers,  foliage,  and 
volutes,  with  which  it  is  adorned,  seemed  well  adapted  to  the  delicacy  and  elegance 
of  such  deities.  Being  the  most  splendid  of  all  the  orders,  it  is  proper  for  the  dec- 
oration of  squares,  or  galleries  and  arcades,  surrounding  them  ; for  churches,  and 
on  account  of  its  rich,  gay,  and  graceful  appearance,  it  may  with  propriety,  be  used 
in  theatres,  in  ball  or  banquetting  rooms,  and  in  all  places  consecrated  to  festive 
mirth,  or  convivial  recreation. 


30 


THE  AMERICAN  BUILDER’S  COMPANION. 


Care  must  be  taken  in  Corii%hian,  as  well  as  in  Composite  capitals,  that  the  feet 
of  the  lower  leaves,  do  not  project  beyond  the  upper  part  of  the  shaft  of  the  column ; 
because  they  then  hide  a considerable  part  of  the  upper  row  of  leaves,  and  give  a 
stunted,  disagreeable  form  to  the  whole  capital.  The  different  divisions  of  the 
acanthus  leaf,  and  bunches  of  olive  or  parsley,  which  compose  the  total  of  each  leaf, 
must  be  firmly  marked,  and  massed  in  a very  distinct  manner  ; the  stems  that 
spring  from  between  the  upper  leaves,  are  to  be  kept  low  upon  the  vase  of  the  capi- 
tal, while  rising  between  the  leaves,  then  spring  gradually  forward,  to  form  the 
different  volutes. 

The  Composite  or  Roman  order,  certainly  owes  its  origin  to  that  constant  solic- 
tude  after  novelty,  which  ever  renders  the  mind  of  man  restless  in  an  enlightened 
and  highly  cultivated  age.  The  desire  of  variety  and  novelty,  either  of  new  inven- 
tion, or  combination,  certainly  engaged  the  Roman  architects  to  unite  with  the  pro- 
portions and  enrichments  of  the  Corinthian  order,  the  angular  volute,  and  dentils  of 
the  Ionic,  and  by  this  union  to  compose  a new  order. 

The  introduction  of  the  angular  Ionic  volute,  and  the  omission  of  the  upper  row 
of  leaves  in  the  capital,  certainly  give  it  a more  bold  and  noble  aspect,  than  that  of 
the  Corinthian  capital,  yet  different  from  any  of  the  other  orders,  possessing  an  ele- 
gance and  projection  very  pleasing,  and  may  be  used  with  very  agreeable  and  hap- 
py effects. 

There  are  many  examples  remaining  at  Rome,  which  show  the  general  estima- 
tion of  this  order  there,  in  the  height  of  its  splendour  and  prosperity.  In  their  tri- 
umphal arches  it  was  used  with  good  effect,  where  it  produced  an  agreeable  bold- 
ness, uniting  elegance  and  ornament. 

The  example  here  given  of  the  column,  its  base,  and  capital,  is  that  executed  in 
the  triumphal  arch,  erected  in  honor  of  Vespasian  and  Titus  at  Rome. 

The  entablature  is  nearly  a copy  of  that  of  Sir  William  Chambers. 

The  cornice  differs  from  the  Corinthian,  only  in  the  modillions,  which  are  square, 
and  composed  of  two  fascias.  The  soffit  of  the  intervals  between  the  dentils,  may 
be  hollowed  upward  behind  the  little  fillet  in  front,  which  occasions  a dark  shade, 
that  marks  the  dentil  more  distinctly.  And  the  same  method  may  be  observed  in 
the  Ionic  and  Corinthian  orders,  for  the  same  reason.  The  roses  in  the  soffit  of  the 
corona,  are  not  to  project  beyond  its  horizontal  surface. 


THE  AMERICAN  BUILDER’S  COMPANION. 


3? 


The  Romans  used  the  Composite  order  more  frequently  in  their  triumphal  arches, 
than  in  any  other  buildings  ; meaning  to  express  their  dominion  over  those  nations, 
that  invented  the  orders  of  which  this  is  composed.  It  may,  with  propriety,  be  used, 
wherever  elegance  and  magnificence  are  to  be  united  ; but  it  is  more  particularly 
adapted  to  buildings,  designed  to  commemorate  signal  events,  or,  to  celebrate  the 
virtues  and  achievements  of  conquerors  and  legislators  ; because  the  capitals,  and 
other  ornaments,  may  be  composed  of  emblems,  and  of  allusive  representations. 


•THE  AMERICAN  BUILDER’S  COMPANION- 


88 


PLATE  12. 

To  draw  the  Tuscan  order  to  any  given  height.  Divide  E F,  fig.  B into  thirty 
nine  equal  parts  ; take  four  of  them  for  the  diameter  of  the  column  just  above  its 
base,  as  the  scale  i,  k,  which  is  divided  into  sixty  equal  parts,  and  are  called  minu- 
tes ; first  divide  i lc  into  twelve  equal  parts,  then  one  12th.  as  5 k , into  five,  each  of 
which  is  called  a minute  ;*  then  each  member  of  the  order  is  so  many  minutes  of 
this  scale,  either  in  height  or  projection. 

If  it  should  be' necessary  to  add  a subplinth,  divide  the  whole  height  into  forty 
three  equal  parts  ; give  four  of  them  to  the  diameter  of  the  column,  and  four  or  one 
diameter  to  the  height  of  the  subplinth  ; if  a pedestal  be  required,  divide  the  whole 
height  into  forty  eight  parts  ; take  four  of  them  for  the  diameter  of  the  column,  and 
give  nine  or  two  diameters  and  fifteen  minutes  to  the  height  of  the  pedestal.  On 
plate  21  is  a block  cornice,  which  may  sometimes  be  used  instead  of  the  plain  one, 
where  it  is  seen  at  a considerable  distance ; draw  it  by  the  same  scale  by  which  the 
rest  of  the  order  is  drawn. 

To  diminish  the  column,  divide  its  shaft  into  three  equal  parts  ; leave  the  lowest 
third  part  undiminished  ; divide  the  remaining  two  thirds  into  any  number  of  parts, 
as  three  at  1,  2,  and  50,  and  divide  the  difference  of  the  semidiameter  e i in  D,  or  b a , 
on  A,  at  the  top,  into  three  equal  parts  ; draw  a line  from  e,  at  the  base  of  A,  to  2 
at  the  top,  which  will  intersect  the  line  2,  3,  at  3 ; then  draw  a line  from  c to  1,  which 
will  intersect  1,  4,  at  4,  tack  in  brads  at  c,  4,  3,  and  a ; bend  a thin  lath  or  strip, 
round  them,  and  you  will  have  the  contour,  or  curve  of  the  column. 

Note.  Figs.  A and  D,  are  diminishing  rules ; I have  explained  that  of  A,  which 
shows  the  same  thing  as  D,  which  is  not  in  its  ju&t  proportion,  but  clearer  to  in- 
spection. 


Proseed  in  the  same  manner  to  make  the  scale  of  minutes  for  all  .the  other  orders. 


■ 


a*a*-*-  ■■■ 


THE  AMERICAN  BUILDER’S  COMPANION. 


39 


PLATE  is. 

To  draw  the  Doric  order.  Divide  the  whole  height  into  sixty  five  equal  parts  ; 
six  of  which  are  the  diameter  of  the  column,  just  above  its  base  ; the  column,  in- 
cluding base  and  capital,  is  nine  diameters  high  ; the  entablature  is  one  diameter 
and  fifty  two  minutes  high. 

If  it  should  be  required  to  execute  this  order  on  a pedestal,  divide  the  whole 
height  into  eighty  equal  parts,  six  of  which  are  the  diameter  of  the  column ; the  pe- 
destal is  two  diameters  and  thirty  minutes  high,  or  fifteen  of  those  parts. 

If  required  to  execute  it  on  a subplinth,  divide  the  height  into  seventy  one  equal 
parts  ; give,  as  before,  six  to  the  diameter  of  the  column,  and  one  diameter  to  the 
subplinth. 

A,  is  the  plancer  of  a mutule  ; divide  g h , and  e c , each  into  six  equal  parts  ; al- 
so c h,  and  e g,  each  into  five  equal  parts  ; draw  diagonal  lines  across  the  mutule, 
and  through  each  of  those  divisions,  the  intersection  of  which  will  make  the  cen- 
tres for  drawing  the  bells  ; B,  is  a section  of  the  mutule,  taken  from  a to  b,  on  A ; 
C,  is  a triglyph  ; divide  its  breadth  into  twelve  equal  parts  ; give  one  to  each  half 
channel  on  the  outside  ; two  for  each  space  or  interval ; and  two  for  each  channel, 
and  two  parts  will  remain  in  the  middle  ; every  two  divisions,  or  parts,  is  the  width 
of  a bell  ; the  sides  of  each  bell,  if  continued,  would  terminate  in  a point  at  the  top 
of  the  fillet  above  them  ; D,  shows  the  plancer,  or  lower  end  of  the  bells,  aho  the 
under  edge  of  the  fillet  above  them  ; E,  is  a section  of  the  triglyph  from  o to  q ; the 
triglyphs  and  mutules  each,  are  thirty  minutes  wide ; the  centre  of  one  of  each 
ought  always  to  be  placed  exactly  over  the  centre  of  a column  ; the  spaces  between 
the  triglyphs,  called  metopes,  are  always  square,*  and  may  be  left  plain,  or  enrich- 
ed with  pateras  or  oxhc ads,  according  to  fancy  ; when  the  column  is  fluted,  it  has 
twenty  in  number,  and  those  without  fillets  ; to  diminish  its  shaft,  proceed  as  be- 
fore directed  in  the  T uscan  order. 


* Triglyphs  are  seventy  five  minutes  from  centre  to  centre. 


40 


THE  AMERICAN  BUILDER’S  COMPANION. 


On  plate  21  is  a dentil  cornice  which  may  be  used  instead  of  that  with  mutules, 
and  drawn  from  the  same  scale  as  the  rest  of  the  order.  Plate  20,  fig.  4,  shows 
the  plancer  of  the  cornice  with  mutules  ; d,  c,  a,  b,  e,  shows  the  manner  of  forming 
panels  in  the  plancer  ; it  may  sometimes  be  necessary  to  make  them  ; but  generally 
it  succeeds  best  plain. 


THE  AMERICAN  BUILDER’S  COMPANION. 


41 


PLATE  14. 

To  draw  the  Ionic  order.  Divide  the  whole  height  into  forty  seven  equal  parts, 
four  of  which  are  the  diameter  of  the  column,  just  above  its  base  ; the  column,  in- 
cluding base  and  capital,  is  ten  diameters  high ; the  entablature  is  one  diameter  and 
forty  five  minutes  high. 

If  it  should  be  required  to  execute  this  order  on  a pedestal,  divide  the  whole 
height  into  twenty  nine  equal  parts  ; two  of  which  are  the  diameter  of  the  column  ; 
the  pedestal  is  two  diameters  and  forty  five  minutes  high  ; if  necessary  to  execute 
it  on  a subplinth,  divide  the  whole  height  into  fifty  one  equal  parts,  four  of  which 
will  be  the  diameter  of  the  column  ; make  the  subplinth  one  diameter  high  ; make 
the  modillions  ten,  ten  and  one  half,  or  eleven  minutes  in  front ; place  them  thirty 
one  minutes  from  centre  to  centre  ; always  the  center  of  a modillion  exactly  over 
the  centre  of  each  column ; to  draw  the  curve  of  the  plancer,  or  under  side  of  it, 
see  plate  20. 

FIG.  2,  PLATE  20. 

Divide  a 6 into  six  equal  parts ; on  4,  make  the  arch  5,  i,  on  c,  which  is  1 1-2, 
part  ; from  4,  make  the  arch,  i , n , on  a ; with  the  same  distance  in  your  compasses, 
complete  the  arch,  n,  1,  a.  Fig,  l,is  the  plancer  of  the  cornice  ; on  plate  21  is  an 
Ionic  cornice,  with  dentils,  which  may  be  drawn  from  the  same  scale  as  the  rest  of 
the  order,  and  used,  instead  of  the  modillion  cornice. 


6 


43 


THE  AMERICAN  BUILDER’S  COMPANION, 


PLATE  15. 

To  draw  the  Corinthian  order.  Divide  the  whole  height  into  twenty  six  equal 
parts  ; give  two  of  them  to  the  diameter  of  the  column  ; if,  on  a subplinth,  divide 
the  whole  height  into  twenty  eight  parts  ; give  two  of  them  to  the  diameter  of  the 
column,  and  make  the  subplinth  one  diameter  of  the  column  in  height ; if  a pedes- 
tal is  to  be  add^d,  divide  the  whole  height  into  thirty  four  equal  parts ; two  of  which 
are  the  diameter  of  the  column  ; make  the  pedestal  three  diameters  of  the  column 
in  height  ; the  entablature  is  two  diameters  high  ; cornice,  forty  eight  minutes  ; 
frieze,  forty  one  ; architrave,  thirty  one  ; capital,  seventy  ; base,  thirty  minutes  ; 
column,  including  base  and  capital,  eleven  diameters.  I have  given  this  order 
Palladios  Ionic  base  for  the  sake  of  variety  ; but  the  Attic  base  may,  with  proprie- 
ty,  be  used  in  all  the  orders,  except  the  Tuscan  ; if  no  enrichments  are  used  in  the 
frieze,  it  may  be  reduced  to  thirty  six  minutes  in  height ; the  modillions  are  thir- 
teen minutes  in  front,  and  thirty  five  from  centre  to  centre.  The  directions  given 
for  placing  modillions,  in  the  Ionic  order,  are  to  be  strictly  observed  in  this,  and  in 
the  Composite  order. 


15 


16 


THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  16. 

COMPOSITE  ORDER, 

To  draw  this  order,  divide  its  height  into  seventy  nine  equal  parts  ; take  six  of 
them  for  the  diameter  of  the  column.  If  a subplinth  be  required,  divide  it  into 
eighty  five  parts,  take  six  as  before,  for  the  diameter  ; make  the  subplinth  one 
diameter.  If  a pedestal  be  necessary,  divide  it  into  ninety  seven  parts,  take  six  for 
the  diameter,  give  the  pedestal  three  diameters. 

The  modillions  are  eleven  and  a half  minutes  in  front,  measuring  on  the  lower 
facia ; and  thirty  eight  minutes  from  centre  to  centre.  Their  planceer  may  be  em- 
bellished with  eight  bells  each,  like  those  of  the  Doric  mutule,  see  a and  c . — b re- 
presents a pannel  sunk  up  into  the  planceer  between  the  modillions. 


THE  AMERICAN  BUILDER’S  COMPANION. 


44 


PLATE  17. 

MODERN  IONIC  CAPITAL. 

FIG.  3. 

Shows  the  mouldings,  which  may  be  turned,  or  worked  out  of  a solid  plauk. 

FIG  4. 

Shows  the  volute  and  abacus  which  may  be  made  out  of  a solid  piece  of  timber. 
Let  the  grain  of  the  wood  be  horizontal.  They  may  be  completely  finished  before 
they  are  put  together. 

FIG  2. 

Shows  the  projection  of  the  volute  and  abacus  from  the  face  of  the  column. 

FIG.  i. 

Shows  the  appearance  when  put  together. 

FIG.  5. 

Is  a simple  way  of  drawing  a volute  ; the  height  is  twenty  four  minutes,  which 
divide  in  twelve  parts  ; No.  7,  will  be  the  centre  of  the  eye  ; draw  a square  in  the 
centre  of  it  of  the  size  of  one  of  those  parts  ,*  the  angles,  which  are  No.  1,  2,  3,  4, 
will  be  the  four  centres.  This  square,  being  divided  into  four  parts  both  ways, 
will  give  four  more  centres,  5,  6,  7,  8,  which  are  all  that  are  wanted.  A circle  be- 
ing described  at  the  angles  of  the  square  will  be  tht  size  of  the  eye  ; from  1,  on  the 
eye,  draw  the  line  from  A to  B,  then  from  2,  on  the  eye,  draw  the  line  from  B to 
C,  and  so  on  until  it  is  completed. 


11  'r/jhlmatrsS  cvtZpl? 


Eomak  I©mc 


JPlale  IS. 


THE  AMERICAN  BUILDER’S  COMPANION. 


45 


PLATE  18. 

Shows  the  front  side,  and  plan  of  the  Roman  Ionic  capital.  The  upper  part  of 
the  astragal  is  equal  in  thickness,  and  in  height,  to  the  eye  of  the  volute  ; the  height 
of  the  ovolo  above,  is  from  the  upper  side  of  the  eye,  to  the  upper  side  of  the  fillet, 
in  the  second  revolution  ; the  projection  of  the  cincture,  or  hollow  under  the  fillet 
of  the  astragal,  is  equal  to  the  height  of  the  fillet ; and  the  projection  of  the  bead  is 
a semicircle  ; make  the  ovolo  a quarter  of  a circle,  whose  projection  is  from  the  per- 
pendicular line  of  the  fillet.  Tiie  dotted  line  upon  the  volute,  is  a section  through 
the  side  at  A JB,  or  through  the  plan  at  C D ; the  ornamental  part  is  drawn  by 
hand. 


THE  AMERICAN  BUILDER’S  COMPANION, 


4fi 


PLATE  19. 

How  to  work  the  Corinthian  capital.  The  first  thing  to  be  done  is,  to  get  out 
four  blocks,  fig.  1,  forty  two  minutes  square,  and  sixty  one  minutes  long  ; these 
being  formed  like  fig.  2,  and  tacked  together,  will  form  the  block  ; the  projection 
and  height  of  all  its  parts  may  be  taken  from  fig.  4,  and  drawn  on  the  block  ; after 
which,  each  quarter  may  be  wrought  separate.  The  corners  being  taken  off  at  C, 
fig.  2,  will  give  an  opportunity  of  securing  it  to  the  bench  ; be  much  easier  to  get 
at  to  relieve  its  parts  ; be  in  less  danger  of  breaking  ; and  likewise  save  some  time 
in  cutting  a hole  through  to  fit  on  the  neck  of  the  column.  The  abacus  may  be 
got  out  of  plank  in  feur  pieces,  in  form  of  A,  fig.  3,  and  nailed,  or  dowelled  to- 
gether. The  Bower,  in  the  centre,  must  be  made  separate  and  nailed  on  ; all  the 
rest  of  the  parts  may  be  got  from  fig.  6. 


C OMiTTiHiiAiT  Capital 


* 


THE  AMERICAN  BUILDER’S  COMPANION- 


47 


OF  COLUMNS. 

Columns,  when  well  disposed  of,  are  very  ornamental,  and  in  some  cases,  of  real 
use  ; but  care  ought  to  be  taken,  that  they  be  properly  placed  in  such  situations  as 
they  will  appear  to  advantage  ; and  in  such  numbers,  and  of  such  size,  as  will  best 
suit  the  building  on  which  they  are  placed. 

Columns,  when  placed  within  one,  or  one  and  a half  diameter  of  each  other,  may 
be  made  smaller  than  if  placed  singly.  There  are  but  few  places  where  they  ought 
to  be  placed  nearer  to  each  other  than  one  half  of  their  diameter.  When  more  than 
two  are  wanted,  the  largest  opening  ought  to  be  left  in  the  centre  ; if  more  than 
four  are  wanted,  place  two  of  them  about  one  diameter  from  each  other,  at  each 
angle  of  the  portico,  or  building  on  which  they  are  pUfced,  When  placed  in  front 
of  a building,  they  ought  to  stand  in  front  of  the  piers  ; and  never  before  windows 
or  doors.  When  they  are  placed  one  over  another,  they  ought  to  be  exactly  so, 
and  the  lightest  on  the  top,  as  the  stoutest  is  best  calculated  for  support.  Where 
one  column  is  placed  on  the  top  of  another,  the  diameter,  at  the  b ‘se  of  the  upper 
column,  ought  to  be  taken  from  the  diameter  of  the  neck  of  the  lower  one.  Col- 
umns for  the  support  of  galleries  in  churches,  should  be  no  larger  than  is  necessary 
to  support  the  weight  they  have  to  sustain,  on  account  of  their  occupying  too 
much  room  in  the  pews,  and  obstructing  the  sight  of  the  congregation  ; they,  in 
that  case,  may  be  from  ten  to  twelve,  or  thirteen  diameters  high ; their  entablature, 
taken  from  a scale  made  on  their  diameter,  if  coin  nns  be  placed  over  them,  tor 
the  support  of  the  roof,  they  must  be  placed  on  a pedestal,  which  will  continue 
around  the  front  of  the  gallery,  and  ought  to  be  ornamented  with  the  base  and  cor- 
nice  of  the  pedestal,  or  some  other  mouldings  of  their  size,  or  nearly  so.  Avoid 
making  the  cornice  of  the  pedestal  from  five  to  nine  inches,  and  pi  cing  a small 
cornice,  nearly  the  size  the  cornice  of  the  pedestal  ought  to  be,  just  above  the 
lower  columns,  which  awkward  manner  of  finishing  fronts  of  galleries  is  very  often 
to  be  met  within  churches  and  meetinghouses,  especially  in  country  towns. 


48 


THE  AMERICAN  BUILDER’S  COMPANION. 


OF  PILASTERS. 

Pilasters  are,  I believe,  a "Roman  invention.  The  Greeks  employed  antae  in  their 
temples  to  receive  the  architraves  where  they  entered  upon  the  walls  of  the  cell. 
These,  though  they  were  in  one  direction  of  equal  diameter  with  the  columns,  of 
the  front,  were,  in  flank,  extravagantly  thin  in  proportion  to  their  height ; and  neither 
their  bases  nor  capitals,  bore  any  resemblance  to  those  of  the  columns  they  accom- 
panied. The  Roman  artists  disgusted,  probably,  with  the  meager  aspect  of  these 
antae,  and  the  want  of  accord  in  their  bases  and  capitals,  substituted  pilasters  in 
their  places,  which,  being  proportioned  and  decorated  in  the  same  manner  with  the 
columns,  are  certainly  more  seemly,  and  preserve  the  unity  of  the  composition  much 
better. 

They  differ  from  columns  in  their  plan  only,  which  is  square,  as  that  of  the  col- 
umn is  round.  Their  bases,  capitals,  and  entablatures,  have  the  same  parts,  with 
all  the  same  heights  and  projections,  as  those  of  columns ; and  they  are  distinguish- 
ed in  the  same  manner,  by  the  names  of  Tuscan,  Doric,  Ionic,  Corinthian  and 
Composite.  Columns  are  certainly  the  most  perfect.  Nevertheless  there  are  oc- 
casions, in  which  pilasters  may  be  employed  with  great  propriety  ; and  some,  where 
they  are,  on  various  accounts,  even  preferable  to  columns. 

Engaged  pilasters  are  employed  in  churches  galleries,  halls,  and  other  interior 
decorations,  to  save  room  ; for  as  they  seldom  project  beyond  the  solid  of  the  walls, 
more  than  one  quarter  of  their  diameter,  they  do  not  occupy  near  so  much  space, 
even  as  engaged  columns.  They  are  likewise  employed  in  exterior  decorations ; 
sometimes  alone,  instead  of  columns,  on  account  of  their  being  less  expensive. 

When  pilasters  are  used  alone,  as  principal  in  the  composition,  they  should  pro- 
ject one  quarter  of  their  diameter  beyond  the  walls,  which  gives  them  a sufficient 
boldness,  and  in  the  Corinthian  and  Composite  orders,  is  likewise  most  regular  ; 
because  the  stems  of  the  volutes,  and  the  small  leaves  in  flank  of  the  capital,  are 
then  cut  exactly  through  their  centres. 


21 


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THE  AMERICAN  BUILDER'S  COMPANION- 


w 

When  pilasters  are  placed  behind  columns,  and  very  near  them,  they  need  not 
project  above  one  eighth  of  their  diameter,  or  even  less  ; when  they  are  on  a line 
with  columns,  their  projection  is  to  be  regulated  by  that  of  the  columns ; and  con- 
sequently, it  never  can  be  less  than  a semidiameter,  even  when  the  columns  are  en- 
gaged as  much  as  possible.  This  extraordinary  projection,  however,  will  occasion 
no  very  great  deformity,  as  the  largest  apparent  breadth  of  the  pilaster  will  exceed 
the  least,  only  in  the  ratio  of  eleven  to  ten,  or  thereabouts.  Rut  if  columns  be  de- 
tached, the  angular  pilaster  should  always  be  coupled  with  a column,  to  hide  its 
inner  flank  ; because  the  pilasters  will  otherwise  appear  disproportionate,  when  seen 
from  the  point  of  view  proper  for  the  whole  building,  especially  if  it  be  small,  and 
the  point  of  view  near. 

It  is  sometimes  customary  to  execute  pilasters  without  any  diminution ; dimin- 
ished pilasters  are,  however,  on  many  accounts,  much  preferable.  There  is  more 
variety  in  their  form  ; their  capitals  are  better  proportioned,  both  in  the  whole,  and 
in  their  parts,  particularly  in  the  Corinthian  and  Composite  orders  ; and  the  irreg- 
ularities, occasioned  by  the  passage  of  the  architraves,  from  diminished  columns,  to 
undiminished  pilasters,  are  thereby  avoided  ; as  are  likewise  the  difficulties  of  reg- 
ularly distributing  the  modillions  and  other  parts  of  the  entablature,  either  when  the 
pilasters  are  alone,  or  accompanied  with  columns. 

The  shafts  of  the  pilasters  are  sometimes  adorned  with  flutings,  in  the  same  manner 
as  those  of  columns  ; the  plan  of  which  may  be  a trifle  above  a semicircle,  and  they 
must  be  to  the  number  of  seven  on  each  face,  which  makes  them  nearly  of  the  same 
size  with  those  of  the  columns.  The  interval  between  them  must  be  either  one 
third,  or  one  fourth  of  the  flute  in  breadth. 

The  capitals  of  Tuscan  or  Doric  pilasters,  are  profiled  in  the  same  manner  as 
those  of  the  respective  columns  ; but  in  the  capitals  of  the  other  orders,  there  are 
some  trifling  differences  to  be  observed.  In  the  antique  Ionic  capital,  the  extraor- 
dinary projection  of  the  ovolo  makes  it  necessary,  either  to  bend  it  inward  consider- 
ably toward  the  extremities,  that  it  may  pass  behind  the  volutes,  or  instead  of  keep- 
ing the  volutes  flat  in  front,  as  they  commonly  are  in  the  antique,  to  twist  them 
outward  till  they  give  room  for  the  passage  of  the  ovolo. 

7 


§0 


THE  AMERICAN  BUILDER’S  COMPANION. 


The  same  difficulty  subsists,  with  regard  to  the  passage  of  the  ovolo  behind  the 
angular  Ionic  volutes. 

What  has  been  said  with  regard  to  the  passage  of  the  ovolo  behind  the  volutes  in 
the  Ionic  order,  is  likewise  to  be  remembered  in  the  Composite ; and  in  the  Corin- 
thian, the  lip,  or  edge  of  the  vase  or  basket,  may  be  bent  a little  inward  toward  its 
extremities  ; by  which  means,  it  will  easily  pass  behind  the  volutes.  The  leaves  in 
the  Corinthian  and  Composite  capitals,  must  not  project  beyond  the  top  of  the  shaft. 
The  diameter  of  the  capital  must  be  exactly  the  same  as  that  of  the  top  of  the  shaft ; 
and  to  make  out  the  thickness  of  the  small  bottom  leaves,  their  edges  may  be  bent 
a trifle  outward  ; and  the  large  angular  leaves  may  be  directed  inward,  in  their  ap- 
proach toward  them.  In  each  front  of  the  Composite  or  Corinthian  pilaster  capital, 
there  must  be  two  small  leaves,  with  one  entire,  and  two  half  large  ones ; and 
wrought  in  the  same  manner  as  those  of  the  columns  are  ; the  only  difference  being, 
that  they  will  be  somewhat  broader. 

The  employing  of  half,  or  other  parts  of  pilasters,  that  meet,  and  as  it  were,  pen- 
etrate each  other,  in  inward  or  outward  angles,  should,  as  much  as  possible,  be  avoid- 
ed, because  it  generally  occasions  several  irregularities  in  the  entablatures. 


THE  AMERICAN  BUILDER’S  COMPANION 


91 


ON  PLATE  23, 

Are  four  designs  for  ornamental  mouldings.  If  intended  to  be  finished  in  stuc- 
co, they  must  first  be  modelled  in  clay.  All  the  parts  should  be  made  as  open  and 
free  as  possible,  and  proper  leaves  made  to  finish  the  mitres,  both  external  and  inter- 
nal. Care  must  be  taken  to  put  them  up  perfectly  straight,  and  not  to  show  any 
joinings. 

In  order  to  model  them,  or  any  other  moulding,  good,  fine  tempered  clay  should 
be  provided  (pipe  clay  is  best.)  A templet  must  be  made  of  wood  to  fit  the  pro- 
file off  the  moulding.  Then  run  on  a board,  a piece  of  clay  moulding  about  a foot 
long.  This  moulding  may  then  be  modelled  to  any  pattern,  and  a wax  mould  tak- 
en of  it,  which  will  do  to  cast  a great  number  of  feet.  In  modelling  mouldings, 
they  ought  to  be  cut  as  deep  as  possible,  to  give  them  a bold  appearance,  and  the 
p >rts  not  crowded  too  close  together.  After  they  are  cast  they  must  be  under  cut, 
to  relieve  them  from  their  ground,  which  will  give  them  a rich  and  bold  appear- 
ance. 

Note.  They  may  be  a little  larger  than  plain  mouldings,  and  not  so  much 
quirked,  for  it  will  be  difficult  to  take  them  out  of  the  moulds. 


THB  AMERICAN  BUILDER’S  COMPANION. 


52 


. PLATE  34; 

OF  PEDESTALS. 

I have  judged  it  more  regular  to  treat  of  the  pedestal  as  a separate  body  ; having 
uo  more  connection  with  the  order,  than  as  an  attic,  a basement,  or  any  other  part 
With  which  it  may,  on  some  occasions  be  accompanied. 

A pedestal,  like  a column  or  an  entablature,  is  composed  of  three  principal  parts  ; 
which  are,  the  base,  the  dye,  and  the  cornice.  The  dye  is  always  of  nearly  the 
same  figure,  being  constantly  either  a cube,  or  a parallelopiped  ; but  the  base  and 
cornice  are  varied,  and  adorned  with  more  or  fewer  mouldings,  according  to  the 
simplicity  or  richness  of  the  composilion  in  which  the  pedestal  is  employed ; hence 
pedestals  are,  like  columns,  distinguished  by  the  names  of  Tuscan,  Doric,  Ionic 
Corinthian,  and  Composite. 

Some  authors  are  very  averse  to  pedestals,  and  compare  a column  raised  on  a pe- 
destal, to  a man  mounted  on  stilts  ; imagining  that  they  were  first  introduced  mere- 
ly through  necessity,  and  for  want  of  columns  of  a sufficient  length. 

With  regard  to  the  proportion  which  their  height  ought  to  bear,  to  that  of  the  col- 
umns they  are  to  support,  it  is  by  no  means  fixed  ; the  ancients  and  moderns  too, 
having  in  their  works  varied  greatly  in  this  respect,  and  adapted  their  proportion  to 
the  occasion,  or  to  the  respective  purposes  for  which  the  pedestals  were  intended. 

I have  given  the  Tuscan,  two  diameters,  fifteen  minutes  ; the  Doric,  two  diam- 
eters, thirty  minutes ; the  Ionic,  two  diameters,  forty  five  minutes  ; the  Corinthian 
and  Composite,  three  diameters  each,  in  height  ; but  it  is  not  necessary  to  adhere 
always  to  this  proportion  ; it  is,  however,  to  be  observed,  that  when  pedestals  are 
profiled  under  each  column,  and  the  dye  is  much  less  than  a squjre  in  height,  the 
pedestal  has  a clumsy  appearance ; and  when  a pedestal  of  the  same  kind  exceeds 
one  third  of  the  height  of  the  column,  it  has  a lean,  unsolid,  tottering  aspect.  But 
if  they  are  continued  without  any  breaks,  this  need  not  be  attended  to  ; though,  in- 


.PEDESTALS 


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s 

Doric  _ 

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41 

? 

Corinthian 

and 

Composite 

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If 

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<1 


•THE  AMERICAN  BUILDER’S  COMPANION.  58 

deed,  there  are  very  few  occasions,  in  which  pedestals,  higher  than  one  third  of  the 
column,  ought  to  be  suffered  ; as  they  lessen  too  much  the  parts  of  the  order,  and 
become  themselves  too  principal  in  the  composition. 

The  plan  of  the  dye  is  always  made  equal  to  that  of  the  plinth  of  the  column. 

It  is  sometimes  customary  to  adorn  dyes  of  pedestals  with  projecting  tablets,  of 
with  panels  sunk  in,  and  surrounded  with  mouldings.  The  former  of  these  practi- 
ces ought  seldom  to  be  admitted,  as  these  tablets  alter  the  general  figure  of  the  pe- 
destal, and  when  they  project  much,  give  it  a heavy  appearance.  The  latter  should 
be  reserved  for  large  pedestals  only. 

With  regard  to  the  application  of  pedestals,  it  must  be  observed,  that  when  col- 
umns are  entirely  detached,  and  at  a considerable  distance  from  the  wall,  as  when 
they  are  employed  to  form  porches,  or  porticos,  they  should  never  be  placed  on  de- 
tached pedestals  ; for  then  they  may  indeed  be  compared  to  men  mounted  on  stilts, 
as  they  have  a very  weak  and  tottering  appearance. 


5% 


THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  25. 

On  this  plate  are  four  designs  for  impost  mouldings.  To  draw  them  to  a given 
height,  divide  that  height  into  twenty,  or  from  that  to  twenty  three  equal  parts,  as 
judgment  may  dictate,  one  of  which  will  be  the  height  of  the  impost  ; divide  it  in. 
to  as  many  parts,  as  are  contained  in  the  impost  to  be  used  ; then  each  member, 
either  in  height  or  projection,  is  so  many  parts  of  that  division,  as  are  figured  on 
the  plate.  The  four  designs  for  architraves,  immediately  above  those  for  imposts 
can  also  be  drawn  by  dividing  their  width  into  as  many  parts  as  are  thereon  con* 
tained. 


25 


f mi >os  rs  A isn  Arc rn tec  tr a i rE s 


IOXIC  i?//.  CORINTHIAX 


' 


THE  AMERICAN  BUILDER’S  COMPANION. 


§5 


OF  PEDIMENTS. 

A pediment  consists  of  a horizontal  cornice,  supporting  a triangular,  or  curvilin- 
cal  space,  either  plain  or  adorned,  called  the  tympan,  which  is  covered  either  with 
two  portions  of  straight,  inclined  cornice,  or  with  one  curvilineal  cornice,  following 
the  direction  of  its  upper  outline. 

Pediments  owe  their  origin,  most  probably,  to  the  inclined  roofs  of  the  primitive 
huts.  Among  the  Romans  they  were  used  only  as  coverings  to  their  sacred  build- 
ings, till  Caesar  obtained  leave  to  cover  his  house  with  a pointed  roof,  after  the  man- 
ner of  temples.  In  the  remains  of  antiquity  we  meet  with  two  kinds  of  them,  viz. 
triangular  and  circular.  The  former  of  these  are  promiscuously  applied  to  cover 
small  or  large  bodies ; but  the  latter  being  of  a heavier  figure,  are  never  employed  but 
as  coverings  to  doors,  niches,  windows,  or  gates,  where  the  smallness  of  their  di- 
mensions compensates  for  the  clumsiness  of  their  form. 

It  is  to  be  observed,  that  the  cimarecta  and  fillet  above  it,  of  the  cornice,  are  al- 
ways omitted  in  the  horizontal  one  of  a pediment  ; that  part  of  the  profile  being  di- 
rected upward  to  finish  the  inclined  cornices.  This  difference  of  direction,  increas- 
es the  height  of  the  cimarecta  very  considerably,  and  makes  it  far  too  large  for  the 
other  parts  of  the  entablature  ; to  obviate  which,  it  will  always  be  better,  whenever 
the  whole  object  is  covered  with  a pediment,  to  make  the  profile  of  the  cimarecta 
lower  than  usual,  by  which  means  it  may,  notwithstanding  the  increase  occasioned 
by  the  difference  of  its  direction,  be  made  of  a size  suitable  to  the  rest  of  the  cor- 
nice. But  if  the  inclined  cornice  of  the  pediment  be,  on  each  side,  joined  to  the 
horizontal  ones,  the  only  good  method  of  lessening  the  abovementioned  deformity 
is,  to  give  very  little  projection  to  the  cimarecta ; by  which  means  the  increase  in 
its  height  may  be  rendered  very  trifling. 

The  modillions,  mutules,  dentils,  and  other  ornaments,  of  the  inclined  cornice, 
must  always  answer  perpendicularly  over  those  of  the  horizontal  cornice,  and  their 
sides  be  always  perpendicular  to  the  horizon. 


56 


THE  AMERICAN  BUILDER’S  COMPANION. 


The  proportion  of  the  pediments  depends  upon  their  size  ; for  the  same  pro- 
portion will  not  succeed  in  all  case's.  When  the  base  of  the  pediment  is  short,  its 
height  must  be  increased  ; and  when  long,  it  must  be  diminished  ; for  if  a small 
pediment  be  made  low,  the  inclined  cornice,  which  is  always  of  the  same  height, 
whatever  may  be  the  dimension  of  the  pediment,  will  leave  little,  or  no  space,  for 
the  tympan  ; consequently,  little,  or  no  plain  repose,  between  the  horizontal  and  in- 
clined cornices.  And  if  a large  pediment  be  made  high,  it  will  have  too  lofty  a tym- 
pan, and  the  whole  composition  will  appear  straggling,  and  too  heavy  for  that  which 
is  to  support  it.  The  best  proportion  for  the  height,  is  from  one  fifth  to  one  quar- 
ter of  the  base,  according  to  the  extent  of  the  pediment,  and  the  character  of  the 
body  it  serves  to  cover. 

The  face  of  the  tympan  is  always  placed  on  a line  perpendicular  with  the  face  of 
the  frieze  ; and,  when  large,  may  be  adorned  with  sculpture,  representing  the  arms 
or  cypher  of  the  owner  ; trophies  of  various  kinds,  suited  to  the  nature  of  the  struc- 
ture ; but,  when  small,  it  is  much  better  left  plain. 


u 


:f  i PT~ 

: § ; ■;  : 

i-Cn  , : ... 

: 4r  ; j ; j : 



2 0 

Plate  27. 


THE  AMERICAN  BUILDER’S  COMPANION. 


87 


PLATES  26  and  2?. 

OF  CORNICES. 

To  proportion  cornices  to  the  eaves  of  buildings,  divide  the  whole  height  into 
thirty  parts,  give  one  part  to  the  height  of  the  cornice.  For  example,  suppose  a 
house  to  be  thirty  five  feet  high,  divide  thirty  five  feet  into  thirty  parts,  and  one 
thirtieth  will  be  fourteen  inches,  which  must  be  divided  into  as  many  parts  as  are 
contained  in  the  height  of  the  cornice  you  make  use  of,  and  those  parts  given  to  the 
mouldings  in  height  and  projection,  as  figured  on  the  plate.  It  is  sometimes  nec- 
essary to  vary  the  above  proportion.  If  it  be  required  to  proportion  a cornice  to  a 
basement  story  house  of  forty  feet  high,  and  twenty  five  feet  front,  unconnected 
with  any  other  building,  I would  advise  to  divide  the  height  into  forty  parts,  which 
would  be  twelve  inches  for  the  height  of  the  cornice.  Again,  if  a -house  be  forty 
feet  high,  and  from  fifty  to  sixty  feet  front,  Or  a block  of  buildings  from  seventy  five 
to  one  hundred  feet  front,  one  thirtieth  may  not  be  too  large  for  the  cornice  ; and 
if  a house  of  two  stories  high,  say  twenty  five  feet  whole  height,  and  from  fifty  to 
sixty  feet  front,  one  thirtieth  would  be  ten  inches,  which  would  not  be  large  enough  ; 
in  that  case  I would  advise  to  make  it  eleven  and  a half  or  twelve  inches.  A,  is  a 
copy  of  the  original  drawing  for  the  eave  cornice  of  that  very  large  house  which 
was  lately  built  for  Thomas  Amory,  Esq.  in  Park  place,  sixty  four  feet  on  Park 
street,  one  hundred  and  five  on  Bacon  street  ; walls  sixty  two  feet  high  ; cornice 
twenty  inches  high,  which  is  about  one  thirty  seventh  part  of  the  height ; the  drops, 
or  bells,  at  the  foot  of  the  cornice,  lie  on  the  brick  wall,  so  that  the  bricks  in  the 
interval  between  the  drops  are  plainly  seen,  and  ought  not  to  be  considered  as  a 
part  of  the  cornice.  B C and  D are  intended  for  eave  cornices,  and  B C and  D, 
on  plate  27,  are  also  intended  for  eave  cornices.  The  entablature  A,  in  plate  27, 
is  intended  for  frontispieces,  and  is  drawn  from  the  same  scale  of  minutes  as  the 
8 


58 


THE  AMERICAN  BUILDER’S  COMPANION, 


orders,  and  may  be  used  with  some  of  their  columns.  H G F E,  on  plate  26,  and 
I H G F G,  on  plate  27,  are  intended  for  cornices  for  rooms,  &c.  They  may  be 
made  either  of  wood  or  stucco. 

To  proportion  cornices  for  rooms,  give  the  cornice  one  fortieth  part  of  the  height 
of  the  room.  If  a room  is  ten  feet  high,  one  fortieth  will  be  three  inches,  which  is 
to  be  divided  according  to  directions  given  for  eave  cornices. 


THE  AMERICAN  BUILDER’S  COMPANION. 


m 


REMARKS  ON  CORNICES. 

As  cornices  make  a very  considerable  part  of  architecture,  there  cannot  be  too 
much  care  taken  to  make  them  appear  to  as  much  advantage  as  possible,  and  to 
manage  their  mouldings  so  as  to  take  up  no  more  room  than  is  sufficient  to  answer 
the  purpose. 

The  projection  of  cornices,  for  rooms,  ought  to  be  at  least  one  fourth  more  than 
their  height  ; the  parts  should  be  as  few  as  possible,  and  those  well  proportioned  ; 
not  crowd  in  any  moulding  that  cannot  be  seen.  About  half  of  the  projections 
ought  to  be  given  to  the  plancere,  which  will  prevent  its  looking  bulky,  and  give  it 
a light  appearance.  Their  fillets  ought  not  to  be  too  small,  give  them  a good  pro- 
jection before  each  moulding  ; at  least  as  much  as  they  rise.  Their  quirks  ought 
to  be  large,  as  the  principal  beauty  of  plain  cornices  depends  on  the  shadows  of  their 
quirks.  When  mouldings  are  ornamented,  they  may  be  larger  than  when  plain,  as 
carving  lightens  them.  They  ought  never  to  be  too  much  crowded  with  ornaments, 
but  always  leave  a sufficiency  of  plain  space  to  form  a contrast.  Three  embellish- 
ments are  generally  sufficient  for  any  cornice,  and  one  may  be  in  the  plancere. 
Stucco  cornices  admit  of  much  greater  variety  than  wooden  ones,  but  nearly  the 
same  rules  apply  to  both. 

Observe  that  the  ornaments  be  bold,  and  proportioned  to  the  height  of  the  room  ; 
not  to  make  the  same  mouldings  serve  for  a room  of  twenty7  feet  high  that  was  mod- 
elled for  one  of  ten  ; and  that  they  always  be  such  as  will  appear  natural  and  open. 
In  some  cases  where  the  room  is  low,  the  plancere  may  be  laid  flat  on  the  ceiling, 
or  even  sunk  level  with  it.  Their  projection  may,  in  some  cases,  be  double  their 
height,  and  their  height,  when  enriched  with  three  ornaments,  about  a thirtieth  part 
of  the  height  of  the  room.  Their  projection  ought,  in  some  measure,  to  be  con- 
formable to  the  size,  as  well  as  their  height,  to  that  of  the  room.  This  will  admit 
of  no  exact  rule  ; therefore  must,  in  a great  measure,  depend  on  the  judgment  of 
the  designer. 


60 


the  AMERICAN  BUILDER’S  COMPANION. 


ON  PLATE  28, 

Are  six  designs  for  cornices,  calculated  to  be  made  of  stucco.  Make  their 
height  one  thirtieth  part  of  that  of  the  room  in  which  they  are  to  be  used,  divide 
that  thirtieth  into  as  many  parts  as  are  contained  in  the  cornice  you  intend  to  use, 
and  then  each  member  of  the  cornice  is  so  many  parts  as  are  figured  on  the  plate. 


tfijHV 


J?.  H ayntr  cUDt£ . 


\ 


’ ' ' 


-Plate  20 


il 


THE  AMERICAN  BUILDER’S  COMPANION. 


Oi 


PLATE  29. 

THREE  DESIGNS  FOR  FRIEZES. 

To  model  friezes  for  stucco,  the  first  thing  to  be  done,  is  to  prepare  a ground  of 
clay,  of  proper  size,  and  about  half  an  inch  thick,  which  must  oe  floated  perfectly 
even  on  a stiff  board.  The  drawing  of  the  frieze  may  then  be  laid  on  it,  and  the 
outlines  traced  with  a tool  or  pencil,  which  will  leave  indented  outlines  on  the  clay. 
A sufficient  quantity  of  fine  clay  may  then  be  laid  on  all  the  parts  which  are  to  be 
raised,  with  a small  trowel  or  tool..  The  artist  will  then  exercise  his  own  skill  in 
embossing  it  to  a proper  degree  of  boldness,  according  to  the  height  of  the  room, 
and  the  good  or  bad  effect  it  may  have,  depends  a great  deal  on  this  first  emboss. 
This  may  be  performed  with  small  spear  shaped  tools,  made  of  iron,  wood,  or  bone. 
The  fingers  must  do  a great  part  in  rounding,  and  softening  its  bold  parts,  when  it 
is  embossed,  to  have  a proper  effect.  It  may  then  be  finished  by  smoothing  it  with 
the  fingers  and  small  tools,  using  a small  quantity  of  oil.  When  the  modelling  is 
finished,  and  a mould  taken  off,  it  must  be  cast  with  plaster  of  paris,  and  neatly  un- 
dercut and  relieved  in  all  the  bold  parts.  The  cornice  and  architrave  should  be  fin- 
ished before  the  frieze  is  put  up,  and  sinking  made  in  the  wall  to  receive  the 
thickness  of  the  cast,  so  that  when  finished,  the  ground  of  the  frieze  should  be  ex- 
actly  over  the  line  of  the  wall.  The  casts  must  be  soaked  before  put  up,  and  the 
joinings  finished  so  as  not  to  be  seen.  The  same  process  will  do  for  any  ornament 
that  has  a flat  ground. 


THE  AMERICAN  BUILDER’S  COMPANION. 


m 


PLATE  30. 

DESIGNS  FOR  LEAVES, 

To  be  used  in  centrepieces  for  ceilings,  or  any  other  place  required.  The  rules 
given  for  modelling  friezes  will  do  here,  except  that  they  must  be  modelled  and 
cast  without  a ground,  and  must  be  well  trimmed,  and  made  as  open  in  the  raffleings 
as  possible. 


THE  AMERICAN  BUILDER’S  COMPANION. 


63 


FLATE  31. 

FIG.  1, 

Is  a design  for  a door  case,  intended  for  inside  finishing,  where  the  room  is  so 
large  as  to  require  more  than  an  architrave  round  the  door.  Divide  the  width  of 
the  door  into  eight  equal  parts  ; make  the  architrave  equal  to  one  of  them.  Make 
the  frieze  and  cornice  equal  to  one  seventh  of  the  height  of  the  door.  Make  the 
truss  one  twelfth  of  the  whole  height,  and  make  the  tablet  one  eighth  of  the  whole 
height,  in  width,  and  make  its  length  one  half  of  that  of  blocking  course.  The 
side  pilasters  may  be  in  width  equal  to  the  architrave. 

FIG.  2, 

Is  a front  door  with  only  two  columns  or  pilasters.  This  is  intended  for  a situa- 
tion that  will  not  admit  of  more  in  width,  and  where  there  is  sufficient  height..  The 
entablature  may  be  of  the  Corinthian  order,  with  fancy  capitals  of  one  diameter  in 
height.  Make  the  tablet  in  length  equal  to  one  half  of  that  of  the  frieze.  Where 
there  is  sufficient  room,  and  the  expense  not  regarded,  I would  always  recommend 
more  than  two  columns,  as  a single  column  on  each  side  of  a door  has  but  a naked 
appearance.. 


61 


THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  32. 

FIG.  I, 

Is  a design  for  a Venetian  entrance  calculated  for  a brick  house.  Where  a great 
deal  of  light  is  required.  The  pilasters  may  be  made  fifteen  or  sixteen  diameters 
high  ; make  the  architrave  in  width  the  same  as  that  of  the  pilasters  ; and  the  side 
lights  in  height  two  thirds  of  the  height  of  the  opening. 

F'G  *, 

Is  a design  for  a front  door,  calculated  for  a low  story,  that  will  admit  of  no  light 
over  the  door.  The  whole  height  is  seventeen  diameters  of  the  column.  The 
blocking,  course,  and  tablet,  help  to  make  up  the  deficiency  of  the  fanlight.  It  will 
be  seen,  that  the  columns  and  pilasters  of  this  door  are  very  slender,  which  ought 
generally  to  be  the  case  when  placed  very  near  each  other. 


* 


IPlate  31 





' 


* * 


L 


■e . 

v 


■ 

& 


f 


Plate  53 


IMcr/iUtjn. 


T-Iifi  AMERICAN  BUILDER’S  COMPANION. 


U 


PLATE  33, 

Contains  two  designs  for  trusses  ; four  for  key  stones  ; with  a profile  plan,  and 
front  of  a modillion.  It  would  be  absurd  to  confine  the  student  to  any  particular 
proportions  for  trusses,  as  their  situation  must,  in  a great  measure,  determine  their 
size  and  dimensions.  We  frequently  see  them,  and  with  propriety  too,  of  every 
size  and  dimension.  I would,  however,  recommend  them  to  be  made  with  less 
projection  than  is  commonly  practised.  Keystones  are  less  used  now  than  they 
were  formerly.  The  ancients  used  them  in  almost  every  door  or  window.  This 
might  be  going  to  excess,  but  they  are  very  useful,  as  well  as  handsome,  in  some 
situations  ; serving  to  wedge  and  strengthen  the  arch,  as  well  as  to  give  its  centre 
a bold  and  conspicuous  appearance.  If  ornamented,  they  ought  to  be  bold  and 
striking,  and  emblematical  of  the  building.  Masks  or  heads  are  proper  ornaments 
for  them,  if  well  executed. 


9 


66 


THE  AMERICAN  BUILDER’S  COMPANION. 


PL  ATE  34. 

SEVEN  DESIGNS  FOR  BANISTERS,  AND  FIVE  DESIGN  FOR  URNS. 

To  proportion  banisters,  the  highest  must  be  first  found,  then  divide  it  into  six 
parts,  one  of  which  will  be  the  diameter  ; the  plinth  is  one  half  the  diameter,  the 
abacus  one  third.  In  whatever  form  they  are  made,  let  them  be  slender  at  top,  and 
stout  at  bottom. 

Banisters,  when  used  for  balustrades,  may  be  considered  as  a pedestal  to  an  or- 
der, and  the  proportion  may  be  the  same.  When  a balustrade  is  placed  over  an 
order,  its  height  must  be  the  same  as  an  entablature  it  stands  on  ; there  is  no  situa- 
tion that  requires  them  to  be  lower,  but  it  is  often  necessary  to  make  them  higher. 
The  plinth  of  the  balustrade  must  be  placed  exactly  on  the  line  of  the  wall ; if  on 
the  top  of  a house,  or  if  on  an  entablature,  it  must  be  perpendicular  over  the  frieze. 
We  frequently  see  balustrades  project  out  as  far  as  the  nose  of  the  cornice,  but  this 
is  a very  bad  and  unnatural  practice,  for  should  another  order  be  put  on  such  a bal- 
ustrade, it  would  break  down  the  cornice. 

Urns  admit  of  a great  variety  of  forms,  and  when  well  executed,  will  be  very  or- 
namental in  their  proper  places,  but  they  ought  not  to  be  used  in  every  situation. 
The  ancients  used  them  to  deposit  the  ashes  and  bones  of  the  dead,  and  for  sacred 
uses  only  ; and  while  the  mind  is  impressed  with  these  ideas,  it  cannot  be  pleasing 
to  see  them  in  every  situation.  Their  use  ought  to  be  principally  confined  to  mon- 
uments, wall  pieces,  churches,  mausoleums,  mourning  pieces,  &c.  &c. 


J5  cvnrvis'ter  s 


Platt-  yl  i 


THE  AMERICAN  BUILDER’S  COMPANION. 


@7 


PLATE  35. 

EXAMPLES  FOR  ARCHITRAVES,  BASE  AND  SURBASES. 

To  proportion  base  and  surbase  mouldings  to  the  pedestal  part  of  rooms,  divide 
form  the  floor  to  the  top  of  the  surbase  into  ten  parts,  give  one  to  the  height  of  the 
surbase.  Suppose  the  height  from  the  floor  to  the  top  of  the  surbase  to  be  two 
feet  eight  inches,  one  tenth  would  be  three  inches  and  one  fifth  of  an  inch,  which 
divide  into  as  many  parts  as  are  contained  in  the  height  of  the  surbase  you  make 
use  of,  and  those  parts  given  to  the  mouldings  in  height  and  projection,  as  figured 
on  the  plate.  The  same  scale,  or  parts,  will  draw  the  base  mouldings  in  propor- 
tion to  the  surbase  ; let  the  plinth  be  from  five  to  six  inches  wide. 

To  proportion  architraves  to  doors  and  windows,  divide  the  door  into  eight  parts, 
give  one  to  the  width  of  the  architrave.  If  a door  is  three  feet  six  inches  wide,  one 
eighth  u’ould  be  five  and  a quarter  inches.  Divide  five  and  a quarter  inches,  into 
as  many  parts  as  are  contained  in  the  architrave  you  make  use  of,  and  those  parts 
given  to  the  moulding  as  figured  on  the  plate.  It  is  very  often  necessary  to  vary 
this  proportion,  and  oftener  for  inside  of  windows  than  for  doors.  For  example,  if 
a door  is  three  feet  six  inches  wide,  the  opening  between  the  architraves  to  the  win- 
dows of  the  same  room,  would  probably  be  as  much  as  four  feet  four  inches  ; one 
eighth  of  which  would  be  six  and  a half  inches,  which  would  be  very  improper,  as 
you  would  have  two  widths  of  architraves  in  the  same  room.  I therefore  should 
advise  to  make  the  architrave  to  the  window  five  and  a quarter  inches.  Again,  if  a 
door  should  be  six  feet  wide,  one  eighth  of  it  would  be  nine  inches,  which  would 
be  too  large,  and  may  be  reduced  to  six  and  a half,  or  seven  inches.  Some  judg- 
ment should  be  exercised  respecting  the  situation  in  which  architraves  are  to  be  used. 
If  they  are  on  external  parts  of  buildings,  and  at  a considerable  distance  from  the 
eye,  it  will  be  proper  to  make  them  larger  than  if  used  on  internal  finishing,  and  near 
to  the  eye. 


THE  AMERICAN  BUILDER’S  COMPANION. 


98 


PLATE  86. 

Are  six  designs  for  ornamental  stucco  ceilings,  with  some  of  their  parts  enlarged. 

It  was  not  my  intention  when  I first  began  this  work,  to  lay  down  any  rules  for 
ornamental  stucco  work,  but  merely  to  give  a few  examples  by  drawings;  but  as 
it  has  never  before  been  attempted,  to  my  knowledge,  and  my  principal  aim  being 
to  explain  those  parts  of  architecture  which  have  been  overlooked  by  others,  and 
willing  to  give  the  student  every  information  in  my  power,  although  it  is  the  most 
difficult  branch  in  architecture  to  learn,  and  still  more  so  to  instruct  ; yet  I hope 
the  following  hints  will  be  of  some  use  to  those  who  are  young  in  the  business,  and 
be  no  injury  to  those  who  are  well  acquainted  with  the  art  of  stucco  working. 
When  a ceiling  or  walls  of  a room  are  to  be  ornamented,  the  first  thing  to  be  done 
after  the  size,  height,  and  form  are  known,  is  to  draw  a design  ; after  which,  all  the 
parts  are  to  be  drawn  at  large.  When  this  is  done,  and  the  plastering  finished, 
which  should  be  floated  perfectly  even,  there  are  two  ways  of  executing  it  in  stuc- 
®o  work,  the  first  is  by  what  is  called  laying  it  on  by  hand,  which  is  modelling  it  on 
the  ceiling  with  stucco*  with  small  iron  or  wooden  tools.  This  kind,  if  executed 
in  a masterly  style,  is  to  be  preferred  ; but  where  workmen  cannot  be  got  to  exe- 
cute it,  or  its  expense  is  too  great,  the  parts  may  then  be  modelled  in  clay,  and 
moulds  taken  from  them,  and  the  ornaments  cast  with  plaster  of  paris.  Though 
this  is  not  the  best  method,  it  is  much  less  expensive,  and  requires  less  skill  to  per- 
form it ; and  if  well  managed  will  have  a very  good  effect.  In  ornamenting  ceil- 
ings, the  figure  should  be  of  a proper  boldness  and  strength  of  shadow  to  the  height 
of  the  room,  and  be  significant  of  its  use.  They  ought  to  be  such  as  will  appear 
©rnomental,  or  they  had  better  be  left  out  ; and  those  parts  which  were  cast  with 
grounds  be  sunk  level  with  the  line  of  the  ceiling,  or  they  will  have  a heavy  appear* 

3 Tiie  siseco  is  made  of  lime  putty,  mixed  with  pulverised  marble,  or  raw  plaster  of  paris,  with  sometimes  litile. 
white  sand  and  a little  white  hair,  to  prevent  it  from  cracking.  The  mixture  is  then  put  on  a dry  brick  va'I  I'm  f>  en- 
ty  f hp  hours,  after  which  It  is  taken  off  and  well  beaten,  and  put  on  again.  This  is  repeated  for  four  or  five  days,  when 
A will  bs  fit  for  ttse.  This  preparation  makes  it  tough,  and  prevents  it  from  cracking. 


m 


Freufrnavts  for  C e^VLurvgs 


J?t irgrvccruts  -for  CTiimnty  Theces  . 


Plate  57 , 


THE  AMERICAN  BUILDER  3 COMPANION. 


69 


ance.  When  a room  is  low,  all  the  parts  of  the  ornaments  should  be  correctly  fin- 
ished, with  very  delicate  strokes,  and  light  in  proportion  to  the  height  ; yet  to  pre- 
serve a proper  boldness  of  tint.  When  a room  is  very  high,  there  may  be  bold  and 
well  placed  strokes,  without  regard  to  a great  deal  of  delicacy.  The  principal  ob- 
ject is  to  show  a sufficient  quantity  of  shadow,  to  give  it  a rich  and  bold  appear- 
ance, without  having  the  parts  too  large  and  heavy.  A ceiling  may  sometimes  be 
p mailed  to  advantage,  but  ought  not  to  be  laid  out  in  too  many  geometrical  figures. 
Regard  ought  to  be  paid  to  the  use  of  a room,  as  it  is  as  easy  to  introduce  emblem- 
atical subjects  as  those  void  of  meaning.  An  ornament,  however  well  executed,  is 
not  fit  to  be  put  in  every  room.  Those  that  would  be  exceedingly  well  adapted  to 
a dancingroom,  for  instance,,  would  be  ridiculous  if  put  in  a church  or  a court- 
house; or  even  those  modelled  fora  drawingroom  or  a bedroom,  would  not  befit 
for  a diningroom  or  a hall. 

In  ornamenting  a diningroom,  there  may  be  introduced  grapevines,  wheat,  bar- 
ley, or  fruit  of  any  kind  ; cups,  vases,  &c.  or  any  thing  that  denotes  eating  or  drink- 
ing ; but  care  must  be  taken  to  group  them  in  some  graceful  form. 

In  a drawingroom,  foliage,  wreaths,  festoons,  or  baskets  of  flowers,  with  myrtles, 
jasmines,  convolvalus,  roses,  See.  displayed  with  taste,  and  in  a lively  manner. 
Every  subject  that  is  introduced,  ought  to  approach  as  near  to  nature  as  art  will  ad- 
mit of.  A hall,  saloon,  or  staircase,  ought  to  exhibit  something  of  more  solidity 
and  strength.  Therefore  trophies  of  different  kinds  may  be  introduced,  and  not  sa 
highly  ornamented  as  the  rest  of  the  house.  I would  not  recommend  the  last 
mentioned  apartments  to  be  finished  higher  than  the  Doric  order,  if  regard  is  paid 
to  any.  It  is  to  be  remembered,  that  objects  are  not  to  be  dispersed  about  a room 
without  order,  but  should  be  grouped  into  trophies,  with  a great  deal  of  judgment, 
and  care  taken  to  give  them  as  easy  and  natural  an  appearance  as  possible,  and  in- 
troduce nothing  that  will  look  stiff  or  mechanical.  To  imitate  nature  requires  a 
great  deal  of  art.  A trophy  of  love  may  be.  composed  of  cupid’s  bow  and  quiver, 
hymen’s  torch,  doves  or  a wreath  of  roses,  myrtles  or  jasmines,  Sec.  See.  A tro- 
phy of  music  ; harps,  violins,  flukes,  hautboys,  music  book,  French  horn,  with 
laurel  branch,  Sec.  A trophy  of  war  ; drums,  fifes,  trumpets,  swords,  battleaxes.. 


THE  AMERICAN  BUILDER’S  COMPANION. 


?G 

fascine,  colours,  palm  branches,  8cc.  or  any  warlike  implement.  A trophy  of  peace ; 
a caduceus,  doves,  olivebranch,  a sword,  burning,  &c.  &c.  A trophy  of  com- 
merce ; the  anchor  and  rudder  of  a ship,  bales,  trunks,  cornucopias,  with  other  ar- 
ticles of  commerce.  A trophy  of  navigation  ; anchors,  cables,  rudders,  mariners’ 
compass,  speaking  trumpet,  quadrant,  pendant,  &c.  &c.  A trophy  of  agriculture  : 
wheat,  corn,  scythes,  sickles,  rakes,  forks,  flowers  of  any  kind,  &c.  &c. 


THE  AMERICAN  BUILDER’S  COMPANION. 


71 


PLATE  37. 

Contains  eleven  designs  for  chimney  pieces ; some  of  which  are  plain,  and  some 
ornamental.  Care  should  be  taken,  however,  not  to  overload  them  with  ornaments, 
as  they  are  exposed  and  liable  to  be  broken.  The  proportion  of  chimneypieces  I 
am  obliged  to  leave  to  the  judgment  of  the  workman  ; for,  in  my  opinion,  no  exact 
rule  can  be  laid  down  that  will  answer  for  every  room.  A room,  however  small, 
must  have  a fireplace  large  enough  to  be  useful,  and  should  the  same  proportion  be 
used  in  a room  of  twenty  feet  high,  and  large  in  proportion,  it  would  be  so  large  as 
not  to  look  well,  and  be  too  high  in  the  opening  for  the  smoke  to  ascend  without 
spreading  into  the  room.  It  will  be  found  by  Count  Rumford’s  experiments,  that 
the  nearer  the  throat  of  the  chimney  is  to  the  fire  the  better  the  draft.  The  small- 
est opening  should  never  be  less  than  two  feet  nine  inches  in  height,  and  the  largest 
ought  not  to  be  higher  than  three  feet  two  inches,  but  two  feet  eleven  inches  will 
be  found  to  be  a useful  height  for  common  rooms,  and  the  width  may  be  about 
four  feet.. 


jji  THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  38i 

OF  DOORS  AND  SASHES. 

A is  a design  intended  for  an  inside  door.  To  proportion  the  frieze  panel* 
divide  its  width  into  four  parts  ; give  three  of  them  to  the  height  of  the  panel.  All 
the  other  parts  are  figured  in  feet  and  inches  on  the  plate. 

B is  a design  intended  for  an  outside  door  ; divide  the  width  of  the  frieze  panel 
into  five  parts  ; give  four  of  them  to  its  height.  Outside  doors  ought  to  be  two 
inches  thick,  and  never  less  than  one  and  three  quarters.  Inside  doors  ought  to  be 
the  last  mentioned  thickness,  they  ought  not  in  any  case  be  less  than  one  and  one 
half  inch  in  thickness. 

C D E and  F,  are  designs  for  sashes  ; and  are  intended  to  be  placed  over  either 
inside  or  outside  doors.  Their  small  bars  may  be  made  of  either  wood,  iron,  or 
pewter. 


'/J'einJ. 


¥ 

% 

• 

- 

'1 

•1 

■ 


Plate  40. 


. 


\ ; 'V  •'  $i 


THE  AMERICAN  BUILDER’S  COMPANION- 


PLATE  39. 


OF  WINDOWS,  &c. 

FIG.  1. 

Shows  the  manner  of  setting  a sash,  frame  and  stone  cap,  and  sill,  into  a brick 
wall.  To  find  the  size  of  the  keystone  and  bevel  of  the  ends  of  the  cap,  divide  the 
lower  edge  of  the  cap  into  three  parts,  and  the  middle  third  into  six  parts  ; give  two 
to  the  centre  part  of  the  keystone,  and  one  to  each  of  its  wings,  with  the  distance 
1 2 ; make  the  dotted  circular  lines  1 and  2 ; intersect,  which  is  the  centre  for 
drawing  the  edges  of  the  keystone.  Take  one  half  of  the  line  3 a and  set  it  to  b ; 
draw  the  line  3 b,  which  completes  the  bevel  of  the  cap. 

A Face  of  stone  sill. 

B Bead  round  sash  frame,  from  one  inch  to  one  and  a half  inches  in  diameter. 

FIG.  2, 

Is  a section  of  fig.  1 , taken  from  the  top  of  the  stone  cap  to  the  floor  of  the  house. 

E Section  of  stone  cap.  , 

F Section  of  cap  to  sash  frame. 

G Face  of  pulley  stile. 

H Section  of  sill  to  sash  frame. 

I Section  of  stone  sill. 

K Elbow. 

L L Shutters. 

M Section  of  lintel  over  windows. 

N Section  of  plank  furring  on  brick  wall. 

O Section  of  plastering. 

P P P Section  of  brick  work. 

10 


74 


THE  AMERICAN  BUILDER’S  COMPANION. 


FIG.  3. 

Section  of  sash  frame,  set  in  a brick  wall. 

FIG.  4. 

Section  of  stiles,  panel,  and  mouldings  of  a shutter. 


THE  AMERICAN  BUILDER’S  COMPANION, 


75 


PLATE  40. 

FIG.  I. 

s Section  of  cap  to  sash  frame, 
r Section  of  soffit. 
h Inside  bead. 
g Parting  bead. 
a Outside  lining. 

FIG.  2. 

Section  of  sill  to  sash  frames,  &c. 
h Inside  bead. 

g Parting  bead ; the  shaded  part  between  h and  g is  a section  of  the  bottom 
rail  of  the  sash. 

a Outside  lining. 
t Section  of  sill  to  sash  frame. 
v Section  of  back  under  window. 
u Section  of  bead,  tongued  into  sill  of  sash  frame. 

FIG  3. 

Section  of  the  meeting  rails  of  the  top  and  bottom  sash,  with  the  side  elevations 
of  the  upright  bars.  G E and  F are  plans  for  upright  bars. 

FIG.  4, 

Is  a section  of  a sash  frame  shutters,  back  lining,  rough  furrings,  plastering 
grounds,  and  architrave. 

a Section  of  outside  casing. 
b Section  of  pully  stile. 
c Section  of  inside  lining. 
d Section  of  back  lining,  next  to  bricks. 
e Section  of  parting  strip. 


yj5  THE  AMERICAN  BUILDER’S  COMPANION, 

f f Section  of  weights. 
g Section  of  parting  bead. 
h Section  of  inside  bead, 
i Section  of  sash  stile. 
k and  / Section  of  shutters.* 

m Section  of  back  lining  of  the  boxing,  tongued  into  the  ground. 
n And  inside  lining  c. 
o Section  of  architrave. 
p Section  of  plank  furring. 
q Section  of  plastering. 

A B I and  H mouldings  at  large  for  shutters.  C and  D mouldings  at  large  for 
doors. 

* This  hinge  that  hangs  the  shutter  k,  to  the  inside  lining  c,  ought  to  have  one  half  of  its  thickness  let  into  the  in- 
side lining  c,  which,  by  mistake,  is  not  represented  on  the  plate. 


Plate  41 


T \ r.'th  tnxxiyi  S c . 


THE  AMERICAN  BUILDER’S  COMPANION. 


77 


PLATE  41. 

FIG.  1, 

Is  a plan  for  a roof.  4,  5,  6 and  7,  are  the  corners  or  angles  of  it.  Suppose  a b 
on  A to  be  the  height  or  pitch  of  the  roof.  To  find  the  length  of  the  hip  rafter, 
draw  the  base  line  of  the  hip  from  the  angle,  5 to  §,  on  the  centre  of  the  beam  ; 
then  set  up  the  height  of  the  pitch  to  9,  and  at  right  angles,  from  8,  5,  and  draw  the 
line  9,  5,  which  is  the  length  of  the  hip.  To  find  the  backing  of  hips,  draw  the  line 
e i h y at  right  angles  from  the  base  line  of  the  hip,  place  one  foot  of  the  compasses 
at  i,  extend  the  other  to  h , and  turn  it  rouni  to  g,  draw  the  lines  g e and  g f which 
gives  the  backing  of  the  hip.  This  method  will  give  the  backing  of  any  hip, 
square,  or  bevel. 

FIG.  2 and  5, 

Are  examples  for  principal  rafters,  &c.  for  roofs  ; that  of  fig.  2 if  well  put  to- 
gether will  be  sufficiently  strong  if  the  bearing  should  be  extended  to  eighty  feet, 
fig.  3,  must  have  two  columns  for  the  support  of  each  pair  of  principal  rafters. 


I 


78  THE  AMERICAN  BUILDER’S  COMPANION; 


PLATE  42. 

FIG.  1, 

Shows  a form  in  which  a roof  may  be  framed,  where  you  wish  a dome  to  rise 
above  the  level  of  the  plates.  I have  made  use  of  this  example,  where  it  had  seven- 
ty feet  bearing,  without  the  least  settlement.* 

FIG.  2, 

Shows  how  to  find  the  length,  width,  and  curve  of  a soffit,  to  fit  a circular  head- 
ed window,  standing  in  a circular  wall ; divide  the  arch  from  c to  12  its  base,  into 
any  number  of  parts,  as  here  into  12  ; draw  lines  through  it,  and  continue  them 
across  the  wall  B,  on  which  the  window  is  to  stand  ; make  e,  c,  in  D,  equal  in 
length  to  the  stretch  of  the  arch  A,  from  c to  12  ; divide  e e,  in  D,  into  the  same 
number  of  parts  as  the  line  12  c in  A is  divided  into  ; transfer  c 2,  3 4,  5 6,  7 8, 
9 10,  11  12,  &c.  in  B to  D ; and  from  B to  D,  transfer  a 2,  c 4.  e 6,  g 8,  10,  and 
o 12,  the  thickness  of  the  wall,  and  through  their  points  trace  the  edg&s  of  the  soffit. 

FIG.  3, 

Shows  how  to  find  the  different  curves  for  the  edges  of  boards  to  cover  a dome. 
Fig.  3,  the  dome  ; divide  it  into  as  many  parts  as  you  have  boards  ; g , b,  c,  d , are 
plans  of  four  boards,  with  their  edges  in  the  right  form  to  bend  round  the  dome  ; 
through  1 and  2,  also  2 and  4,  draw  right  lines,  until  they  meet  at  a , which  is  the 
centre  for  drawing  the  edges  of  the  first  course  of  boards,  g ; proceed  in  the  same 
manner  to  find  the  centres  for  drawing  the  edges  of  b,  c,  and  d,  which  are  at  c,  oand  e. 


* This  design  has  been  frequently  used  since  the  publication  of  the  second  edition  of  this  book,  where  it  had  front 
seventy  to  seveuty  eight  feet  bearing,  and  has  completely  answered  my  expectations  in  every  instance. 


Plair  1Z. 


. 


THE  AMERICAN  BUILDER’S  COMPANION. 


79 


PLATE  43. 

DESCRIPTION  OF  STAIRS. 

FIG.  i. 

Shows  the  manner  of  placing  newels.  They  always  ought  to  be  placed  so  as  to 
cause  the  extreme  part  of  the  nosing  of  the  step  to  be  frush  with  them,  as  they  are 
represented  by  the  dotted  lines  on  the  plate. 

FIG.  2. 

A Is  a newel  for  a plain  staircase.  D Side  view  of  hand  rail.  B and  B Sections 
of  steps.  C and  C Section  of  risers. 

FIG.  3, 

Shows  the  manner  of  framing  carriages  to  circular  stairs,  a c d e b are  the  ends 
of  the  plank  riser.  D is  a side  view  of  a plank  riser.  The  shaded  parts  are  the 
mortaises  to  receive  the  tenons  of  k,  &c.  nnnnnnnnn  are  sections  of  open 
plank  partition. 

FIG.  4, 

Is  an  elevation  of  fig.  3,  with  the  circular  part  stretched  out.  a c d e and  b are 
the  end  views  of  the  plank  risers,  and  f g hi  k side  views  of  f g h i k.  In  fig.  3, 
the  dotted  lines  show  both  mortaises  and  tenons  to  afcgdheib  and  k.  I m are 
the  sections  of  a stringboard  made  of  plank,  of  which  l m in  fig.  4 is  a side  view. 


80 


THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  44. 

DESCRIPTION  OF  STAIRS. 

HOW  TO  DRAW  THE  SCROLL  OF  A HAND  RAIL  TO  ANY  NUMBER  OF  REVOLUTIONS. 

FIG.  A. 

Draw  a circle  from  the  centre  y,  G 15  14,  LKJIH,  about  three  and  a half  inch- 
es in  diameter,  and  divide  the  circumference  into  eight  parts  ; at  the  points  G 15 
14,  L K J and  H through  all  those  points,  and  from  the  centre  y,  draw  lines,  0,  4, 
1,  5,  2,  6,  3,  7.  Suppose  that  y o is  the  distance  you  intend  the  centre  of  the  scroll 
to  be  from  the  beginning  of  the  twist  ; from  o draw  p perpendicular  to  o G on  o, 
with  the  distance  o G,  make  the  quarter  of  a circle,/)  G.  Now  suppose  it  were  re- 
quired to  make  two  revolutions  in  this  scroll ; and,  since  every  revolution  contains 
eight  parts,  there  will,  of  course,  be  sixteen  in  two  revolutions  ; therefore  divide  the 
quarter  cy-cle  p G into  sixteen  equal  parts,  and  draw  lines  from  each  of  those  six- 
teen divisions,  parallel  with  o p cutting  o G at  1,  2,  3,  4.  5,  6,  7,  8,  9,  10,  11,  12, 
13,  14  and  15  ; at  y place  one  foot  of  the  compasses,  and  extend  the  other  to  1 on 
Go;  make  a point  with  the  foot,  which  falls  on  1,  at  1 on  the  outside  of  the  rail  ; 
still  keep  one  foot  at  y,  and  take  the  distances  y 2,  y 3,  y 4,  y 5,  y 6,  y 7,  y 8,  y 9, 
&c.  and  prick  them  down  at  2,  3,  4,  5,  6,  7,  8,  9,  &c.  on  the  outside  of  the  rail. 
To  draw  the  curve,  draw  the  line  a a parallel  to  o y,  which  is  the  beginning  of  the 
twist  ; and  about  two  inches  from  the  line  o y,  take  the  distance  o y in  your  com- 
passes, and  place  one  foot  at  1,  on  the  outside  edge  of  the  rail,  and  intersect  the 
line  a a at  a,  which  is  the  centre  for  drawing  the  curve  a 1.  Take  the  distance  1 y 
in  the  campasses  ; place  one  foot  at  2,  and  intersect  the  line  1 a at  b,  which  is  the 
centre  for  drawing  the  curve  1,  2,  Take  the  distance  2 y,  and  from  3,  intersect  the 
line  1 a ate,  which  is  the  centre  for  drawing  the  curve  2,  3.  Take  the  distance 
3 y and  from  4,  intersect  the  line  2 b at  d,  which  is  the  centre  for  drawing  the  curve 
3,  4.  Take  the  distance  4 y,  and  from  five,  intersect  the  line  3 c , which  is  the 


THE  AMERICAN  BUILDER’S  COMPANION, 


S3 


PLATE  45. 

HOW  TO  FIND  THE  RAKING,  OR  FACE  MOULD. 

Place  your  pitch  board,  a b c,  iu  fig  D ; then  draw  ordinates  across  the  scroll,  at 
discretion,  and  take  the  length  of  the  line  d b,  with  its  divisions,  on  the  longest  side 
of  the  pitchboard,  and  lay  it  on  d b,  in  E ; then  the  ordinates  being  drawn  in  E,  it 
will  be  traced  from  fig.  D,  as  the  letters  direct, 

HOW  TO  FIND  THE  PARALLEL  THICKNESS  OF  STUFF. 

Let  a b c,  be  the  pitchboard,  in  F,  and  let  the  level  of  the  scroll  rise  one  sixth,  as 
in  the  last  plate  ; and  from  the  end  of  the  pitchboard  at  b,  set  from  b to  c?,  half  the 
thickness  of  the  baluster,  to  the  inside  ; then  set  from  d to  e,  half  the  width  of  the 
rail,  and  draw  the  form  of  the  rail  on  the  end  at  e,  the  front  b , being  where  the 
front  of  the  riser  comes  ; then  the  point  e will  be  the  projection  of  the  rail  before  it ; 
then  draw  a dotted  line  to  touch  the  nose  of  the  scroll,  parallel  with  c b , the  longest 
side  of  the  pitchboard  ; then  will  the  distance  between!  his  dotted  line  and  the  under 
tip  of  the  scroll,  show  the  true  thickness  of  stuff,  which  is  nearly  five  inches  and  a 
half  ; but  there  is  no  occasion  for  the  thickness  to  come  quite  to  the  under  side  ; if 
it  come  to  the  under  side  of  the  hollow,  it  will  be  quite  sufficient,  as  a little  bit  glued 
under  the  hollow,  could  not  be  discernible,  and  can  be  no  hurt  to  the  scroll ; there- 
fore, a piece  about  four  inches  and  a half  will  do. 

FIG.  A, 

Is  a scroll  of  a smaller  size,  drawn  in  the  same  manner,  and  with  the  same  cen- 
tres as  the  others  are,  but  with  a centre  less.  The  method  of  finding  the  raking 
mould,  and  thickness  of  stuff,  is  the  same  as  fig.  D. 


4*late  45. 


This  show's  how  a Scroll  is  lo  he  got  out  of  the  Solid 


. * 


Plate  46 


THE  AMERICAN  BUILDER’S  COMPANION. 


33 


PLATE  46; 

TO  FIND  THE  MOULDS  FOR  MAKING  BUTT  JOINTS  FOR  A RAIL,  WHEN  GOT  OUT  OF 
THE  SOLID. 

Let  fig.  1 be  the  plan  of  a rail,  b c cl , and  bed,  the  two  sides  of  the  circular  part ; 
a b,  and  de,  the  breadths  of  tv\o  common  steps,  at  the  beginning  and  end  of  the 
winders  ; make  the  whole  stretchout  ol  the  straight  line,  A B C D E,  fig.  2,  equal 
to  a b c de,  round  the  outside,  going  upward,  fig.  1 ; that  is,  make  A B,  in  fig.  2, 
equal  to  a b,  fig.  1 ; the  last  common  step  in  the  ascent  before  the  winders  ; B C D, 
in  fig.  2,  equal  to  the  circumference  of  the  semicircular  part,  bed,  fig.  1,  and  D E, 
in  fig.  2,  equal  to  d e ; on  the  outside,  fig.  1,  the  first  common  step  immediately 
after  ascending  the  winders,  draw  the  lines  B F,  D G,  and  E H,  perpendicular  to 
A E ; make  B F,  equal  to  the  height  of  one  step  ; make  D G,  one  step  higher  than 
the  number  of  winders  that  is  in  the  example  ; suppose  the  circular  part  to  contain 
eight  winders,  then  D G,  will  be  equal  to  the  height  of  nine  steps  ; make  E H equal 
to  the  height  often  steps  ; then  join  A F,  F G,  and  G H,  and  describe  the  parabol- 
ical parts  A I,  and  K H,  and  the  under  edge  of  the  falling  mould  will  be  completed ; 
the  upper  edge  will  be  formtd  by  drawing  a line  parallel  to  it,  equal  to  the  thickness 
of  the  rail.  Bisect  the  stretchout  of  the  circular  part  B D,  at  C ; from  C,  draw' 
C M,  perpendicular  to  A E,  cutting  both  edges  of  the  falling  mould  at  L and  M ; 
bisect  L M,  at  N,  and  through  N,  draw  O P,  at  right  angles  to  the  falling  mould  ; 
cutting  it  at  O and  P ; through  the  points,  O and  P,  draw  O Q,  and  P R,  each 
perpendicular  to  A E,  cutting  A E,  at  Q and  R ; let  S T be  the  joint  on  the  straight 
part ; then  from  the  point  S and  T,  draw  S U and  T V,  perpendicular  to  A E,  cut- 
ting it  at  U and  V,  then  take  the  distances  C R and  C Q,  in  fig.  2,  and  apply  them 
in  the  middle  of  the  circular  part,  fig.  1,  from  c to  r,  and  from  c to  q,  and  draw  to 
the  centre  r Z,  and  q Z,  cutting  the  inside  of  the  rail  at  r and  q ; also  take  the  dis- 
tances B V,  and  B U,  fig.  2,  and  apply  them  from  b to  v , and  from  b to  u,  fig.  1 ; then 
draw  v v and  u u at  right  angles  to  the  rail,  cutting  the  other  side  at  v and  u ; then 
through  the  points  u and  r,  on  the  inside  of  the  rail,  fig.  1,  draw  the  chord  u r,  then 


THE  AMERICAN  BUILDER’S  COMPANION. 


34 

from  all  the  points,  u , a,  v , w,  <7,  and  r,  r,  draw  lines,  u u s,u  s,  v t,  v t,  and  q o, 
&c.  each  perpendicular  to  the  cord  line  ur  ; then  complete  the  sections  of  the  rail 
t t s s,  and  o o p p,  as  are  shown  at  the  shadowed  parts,  and  draw  the  cord  line,  s o , 
to  touch  these  sections  without  cutting  them ; then  take  any  number  of  intermedi- 
ate points,  as  5,  6,  7,  8,  in  the  cord  u r,  and  draw  the  lines,  5 5,  6 6,  7 7,  8 8,  per- 
pendicular to  u r,  cutting  the  chord  of  the  face  mould,  s o,  at  the  points  5,  6,  7,  8 ; 
continue  the  lines  u s and  r p,  till  they  cut  the  cord  line  of  the  face  mould,  s o,  at  o 
and  9 ; through  all  the  points,  s , o,  5,  6,  7,  8,  0,  10,  9,  draw  lines  perpendicular  to 
the  chord  of  the  face  mould,  s o,  for  ordinates,  points  being  found  in  each  of  them 
corresponding  to  these  ; on  the  plan  and  lines  being  traced  through  these  points,  the 
face  mould  X,  will  be  completed  in  the  usual  manner. 

N.  B.  The  small  letters  on  the  sections  of  the  face  mould,  and  similar  capital 
letters  on  the  falling  mould,  show  corresponding  places  in  each. 

HOW  TO  CUT  THE  JOINTS. 

The  stuff  must  first  be  cut  out  by  the  face  mould,  and  the  joints  made  exactly 
plumb,  according  to  the  face  mould,  as  is  shown  by  fig.  3 and  4. 

To  make  this  appear  plain,  of  fig.  3 and  4,  are  different  views  of  the  solid  rail,  got 
out  by  the  face  mould  X,  Fig.  3,  shows  the  top  and  convex  side  of  the  piece, 
which  is  to  make  the  rail  ; take  the  distance  9 p , from  the  cord  line  of  the  face 
mould,  down  the  perpendicular,  fig.  1,  and  set  it  from  9 to p,  in  fig.  3 ; then  apply 
the  shadowed  part  of  the  falling  mould  at  fig.  2,  which  is  to  correspond  to  the  block 
of  the  rail,  fig.  3 ; that  is,  apply  the  point  S,  the  upper  edge  of  the  lower  end  of  the 
falling  mould,  at  fig.  2,  to  the  point  s,  at  the  fig.  3,  and  bend  the  falling  mould  round 
until  the  point  P,  the  lower  edge  of  the  upper  end  of  the  failing  mould,  coincide 
with  the  point  p ; draw  a line  all  round  by  the  falling  mould  ; it  will  show  how 
to  cut  off  the  ends  of  the  rail,  and  will  also  give  the  upper  and  lower  edge  of  the 
rail.  Fig.  4,  shows  the  concave  side  of  the  piece*  in  order  to  show  the  ends,  hav- 
ing similar  letters  of  reference  as  before.  From  s in  fig.  4,  draw  s s,  at  right  angles 
to  s b ; then  cut  off  the  end  through  the  line  s s,  as  is  shown  at  fig.  3,  and  through 
the  points  s,  t , as  is  shown  at  fig.  4.  The  upper  joint  will  be  found  in  the  same 


THE  AMERICAN  BUILDER’S  COMPANION. 


85 


manner  ; that  is,  by  drawing  the  line  p p , at  right  angles  to  9 p ; then  cut  off  the 
end,  through  the  line  p p , in  fig.  4,  and  through  p o,  as  is  shown  in  the  other  view, 
fig.  3.  If  great  accuracy  is  required  in  squaring  the  rail,  make  an  inside  falling 
mould,  which  apply  the  under  edge  of  the  upper  end  to  the  point  />,  in  fig.  4,  and 
the  upper  edge  of  the  lower  end  of  the  falling  mould,  to  the  point  s,  and  draw  lines 
above  and  below,  by  the  two  edges  of  the  falling  mould,  and  it  will  give  the  form 
of  the  upper  and  under  edges  of  the  rail.  By  this  method  of  proceeding,  the  work- 
men will  be  enabled  to  cut  out  the  stuff  of  a hand  rail  with  very  great  accuracy. 


THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  47. 

TO  FIND  A FACE  MOULD  OF  A RAIL  FOR  A LARGE  OPENING  ON  A LEVEL  L \NDING. 

Let  fig.  A be  the  plan  of  a rail  ; through  the  centre  of  C,  draw  the  diameter  s 
and  produce  it  to  A ; also  produce  the  side  of  the  mil  out  to  2 ; then  take  the  di- 
ameter z s , put  the  foot  of  your  campasses  in  y.  and  cross  the  line  A z at  A ; 
through  A and  y draw  the  line  A 2,  cutting  the  side  of  the  rail  produced  at  2 , then 
the  distance  from  z to  2,  is  half  the  arch  line  of  the  rail  ; take  the  distance  z 2,  and 
place  it  on  the  right  line  v v at  G,  on  each  side  of  rt/,to  v and  v ; draw  v B,  and  v C, 
each  perpendicular  to  the  right  line  v v,  and  equal  to  the  height  of  a step  ; draw 
the  hypothenuse  v C,  and  the  common  pitchboards, v B D,  and  C E F,  at  each  end; 
make  v H equal  tov  D,  and  c G equal  to  c F ; and  ease  off  the  angles,  G CF,  and 
D v H,  by  the  common  method  of  intersecting  lines,  which  will  give  the  curve  of 
the  under  edge  of  the  falling  mould  ; draw  a line  parallel  to  it  equal'  to  the  thick- 
ness of  the  rail,  will  give  the  upper  edge  ; produce  the  line  v i\  out  to  y , from  the 
middle  xv,  of  the  line  v v at  G ; make  xv  y equal  to  xv  y , at  the  plan,  fig.  D ; y be- 
ing the  place  of  the  joint  upon  the  plan,  draw  the  line  y 2 1,  perpendicular  to  v v, 
cutting  the  upper  side  of  the  falling  mould  at  2,  and  the  under  side  at  1 ; from  1, 
draw  the  line  1 6,  parallel  to  v v , cutting  the  line  8 xv , produced  at  6 ; draw  the 
tangent  line  M L,  parallel  to  the  cord  a b,  at  the  plan  B ; to  the  cord  a b,  draw 
any  number  of  indefinite  perpendiculars,  observing  to  draw  a perpendicular  through 
every  joint,  as  from  the  joint  d q and  by  ; then  take  the  distance  1 2 from  your 
falling  mould  at  G,  and  set  it  from  M to  o,  of  the  plan  at  B ; also  from  L make  L 
N o,  equal  to  6 7 8 at  G ; then  the  shaded  parts  at  N o,  and  M o,  are  sections  of 
the  rail  ; then  draw  a line  o b,  to  touch  the  corners  of  the  section  at  o and  b ; at  the 
points  o,  a,  d,  e,  f,  g,  h b , and  p,  draw  perpendiculars  to  o b ; then  C,  being  prick- 
ed from  the  plan  at  B,  as  the  letters  direct,  will  be  the  true  face  mould. 


Plate  47. 


la 

jaJP 

pW_/c  / 

■Fig:  A 

ci  \™7/ 1 y 

>\  ^SY/ 
■^  \ / / ~ 

MB  \ 

1 1 1 1 IC  z 

I 


. 


« 


THE  AMERICAN  BUILDER’S  COMPANION. 


ay 

FIG.  D, 

Is  a plan  of  the  same  size,  showing  the  face  mould  at  F,  when  sprung,  which 
will  be  a very  great  saving  of  stuff,  and  not  much  trouble  in  laying  it  down  when 
properly  understood.  This  method  will  be  clearly  explained  in  the  following 
pages. 


88 


THE  AMERICAN  BUILDER’S  COMPANION. 


* PLATE  84. 

TO  DRAW  THE  TALLIN  G MOULD  OF  A RAIL,  HAVING  A QUARTER  SPACE  IN  IT  : THENCE  TO 
FIND  TI1E  FACE  MOULDS  OF  THE  CIRCULAR  PART. 

At  the  plan  fig.  A,  a c is  the  stretchout  of  half  the  circular  part  of  the  rail,  found 
thus  ; divide  the  radius  into  four  equal  parts,  and  set  three  of  the  divisions  out  to 
3,  and  draw  a line  from  3 to  b,  cutting  the  side  of  the  rail  produced  at  a ;*  from 
the  point  f in  the  right  line  h g at  B,  make  fh  and fg,  each  equal  to  the  stretchout 
of  half  the  rail,  that  is,  equal  to  a c,  fig.  A ; draw  the  perpendiculars  h o,f  /,  and 
g t,  at  B ; apply  the  pitchboard  of  a common  step  at  F ; through  the  point  t draw 
t k , parallel  to  g h,  cutting  the  line f /,  at  k ; from  kto  l set  up  the  height  of  the 
four  winders ; through  / draw  l n,  parallel  to  g /z,  cutting  the  line  h o at  n ; from  n 
make  n o,  equal  to  the  height  of  a step,  for  the  quarter  space  upon  the  landing  which 
only  rises  one  step  ; draw  the  hypothenuse  l o ; again,  draw  o p parallel  to  g h,  and 
p g ; perpendicular  to  op  draw  q o ; then  op  q is  the  pitchboard  of  another  com- 
mon step  above  the  winders  ; then  these  angles  being  eased  off  by  the  method  of 
intersecting  lines,  the  falling  mould  will  be  completed  ; make  f u , and  f v , from  f 
equal  to  a d,  fig.  A,  that  is  the  stretchout  from  the  middle  of  the  arch  at  b , to  the 
joint ; draw  v x and  u z parallel  to  fl;  then  take  the  heights  from  1 to  y and  z, 
and  set  them  from  A to  B,  and  c will  give  the  section,  B C ; then  take  m l from 
the  falling  mould,  and  from  D,  make  D E equal  to  it,  will  give  the  section  D E ; 
then  take  w x from  B,  and  make  F,  G at  E equal  to  it  ; from  u draw  w r,  parallel 
to  g h , cutting/’ m at  r ; from  r take  the  heights  from  m and  /,  and  set  up  these 
heights  from  H to  1,  and  K at  E,  it  will  give  the  section  I K ; then  the  face  moulds 
up  D and  E will  be  traced  as  before  directed. 

* The  line  a e is  rienrty  equal  to  the  semicircumference,  and  is  the  most  exsct  of  any  that  ever  has  yet  heen  shown 
by  a geometrical  method  ; it  may  he  depended  on  in  practice. 


Plate  19. 


THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  49. 

THE  TREAl)  OF  A WINDING  STAIR  BEING  GIVEN,  ROUND  THE  MIDDLE  AND  THF,  PLAN  OF 
THE  R v !L.  TO  DIMINISH  THE  ENDS  OF  THE  STEPS  AT  THE  RAIL,  SO  THAT  THE 
BALUSTERS  SHALL  BE  REGULAR,  OR  OF  AN  EQUAL  HEIGHT  WHEN  FINISHED. 

Let  the  first  winder  begin  about  the  first  step  before  the  circle  of  the  rail  at  D ; from 
a to  e , in  the  plan,  fig.  A,  is  the  stretchout  of  half  the  circular  part  of  the  rail ; the 
method  of  finding  has  already  been  explained  in  the  foregoing  plates;  from  e,  draw 
e H,  perpendicular  to  the  side  of  the  rail  ; by  reckoning  round  the  dotted  line  from 
5 to  10,  you  will  find  there  are  five  treads,  or  five  winders  ; therefore  from  q to  5, 
set  up  the  height  of  five  steps  ; produce  the  longest  side,  a 6,  of  the  pitchboard  D, 
to  c ; bisect  b c,  at  2 ; draw  a line  from  2 to  5 ; then  divide  2 b and  2 5,  each  into 
the  same  number  of  equal  parts,  and  intersect  the  angle  by  the  common  method  of 
intersecting  lines,  will  give  the  under  edge  of  the  falling  mould  ; then  a line  drawn 
parallel  to  it,  the  thickness  of  the  rail  will  give  the  upper  edge,  which  is  the  falling 
mould  for  half  the  rail  ; draw  the  lines  1 /,  2 k,  3 and  4 h , parallel  to  6 g,  to  in- 
tersect the  falling  mould,  at  the  points  h}  i,  k , l;  from  these  points  draw  the  parallel 
dotted  lines  to  q H,  down  to  the  rail  at  s t vu  ; from  c draw  c s,  c t,  cv,  and  c ut 
cutting  the  arch  line  of  the  rail,  m,  n , o,p,  will  give  the  ends  of  the  steps  at  the  rail ; 
then  draAV  lines  from  m,  n,  o p,  through  6,  7,  8,  9,  will  be  the  plan  of  the  steps. 


TO  FIND  THE  FACE  MOULD  OF  A RAIL,  SO  THAT  IT  MAY  BE  GOT  OUT  OF  THE  LEAST 
THICKNESS  OF  STUFF  POSSIBLE. 

Lay  down  the  plan  of  the  rail  at  any  convenient  place,  as  No.  3 ; draw  the  cords 
of  the  rail,  N o,  and  o P,  from  the  centre  K,  draw  K E,  perpendicular  to  the  cord 
N O,  cutting  the  outside  of  the  rail  at  C ; in  the  same  manner  draw  the  cord  w a, 
at  the  plan,  fig.  A ; from  the  centre  g,  draw  g f,  perpendicular  to  it,  cutting  the 
12 


m 


THE  AMERICAN  BUILDER’S  COMPANION. 


outside  of  the  rail  at  f ; from  c draw  a line  cf  to  cut  the  tangent  line  at  v ; draw 
a line  v E,  parallelto  q H ; from  the  joint  of  the  rail  at  h,  draw  h B also  parallel  to 
q H ; intersecting  the  under  side  of  the  rail  at  A,  and  the  top  side  at  B ; draw  from 

A,  a line  A F,  parallelto  b q ; from  F at  No.  3,  make  F G H equal  to  F G H,  at 
No.  1 ; from  C,  at  No.  3,  make  C D E,  equal  to  C D E,  at  No.  1 ; and  make  A 

B,  at  No.  3,  from  A,  equal  to  A B at  No.  1 ; draw  a line  B R,  for  the  cord  of  the 
mould  to  touch  the  shaded  sections,  perpendicular  to  N O,  and  A F ; from  E draw 
E M perpendicular  to  B R ; make  c i,  at  No.  2,  equal  to  C,  I at  No.  3 ; make  i e 
perpendicular  to  c i,  equal  to  E L at  No.  3 ; make  L M equal  to  c e at  No.  2 ; 
from  E draw  E T,  parallel  to  A F,  cutting  the  cord  line  B R at  T ; from  the 
points  T and  M,  draw  the  line  T M,  then  T M will  be  one  of  the  ordinates  ; all 
the  other  ordinates  are  drawn  at  discretion  parallel  to  it. 

The  reader  will  take  notice,  that  before  the  face  mould  at  No.  3 can  be  applied, 
the  edge  of  the  plank  must  be  first  bevelled  according  to  No.  2 ; then  the  plemb- 
line  will  be  drawn  on  the  bevelled  edge  of  the  plank,  by  the  bevel  that  is  drawn  at 
No.  3. 

Note.  By  this  mode  of  proceeding,  a three  inch  plank  will  almost  be  sufficient  for 
any  rail  of  this  kind,  however  it  may  ramp  ; whereas  in  many  cases,  by  the  common, 
method  it  may  require  a plank  of  five  or  six  inches  thick.  Many  other  advantages 
will  attend  the  setting  out  of  this  plan  ; I shall  mention  one  or  two.  In  fixing  the 
banisters,  they  will  be  all  regular,  and  the  stringboard  will  be  as  easy  as  the  rail  it- 
self ; the  skirting  will  also  be  quite  regular  ; for  the  ends  of  the  steps  are  wider  and 
wider  as  they  go  round  to  the  middle  of  the  semicircle  ; lastly,  a blacksmith  may 
put  up  an  iron  rail  with  very  little  trouble,  the  banisters  being  all  regular  ; whereas, 
no  other  plan  will  admit  of  it,  unless  it  be  set  out  in  this  manner^ 


x 

- 


Hate  50  . 


Fy  A 


I 


THE  AMERICAN  BUILDER'S  COMPANION. 


t* 


PLATE  50. 

TO  DIMINISH  THE  STEP  OF  A STAIR,  WINDING  ROUND  ONE  OF  THE  QUARTERS  TO  A 
LEVEL  LANDING. 

Find  the  stretchout  round  half  the  circular  part  of  the  rail,  as  directed  for  the  fore- 
going plates,  and  complete  the  falling  mould  as  directed  in  the  last  plate,  for  the 
winding  part  of  the  rail,  which  is  six  steps  from  t to  w ; in  order  to  bring  the  rail 
with  an  easy  turn  round  to  the  landing,  set  of  the  height  of  another  step  from  w to 
7,  and  let  the  under  edge  of  the  rail  be  half  the  height  of  a step  above  that  to  C ; or 
it  may  be  more  according  to  the  discretion  off  the  workman  ; then  the  rail  will 
be  half  the  height  of  a step  more  upon  the  landing,  than  it  is  upon  the  winders ; 
through  C draw  C f parallel  to  the  base,  and  continue  the  line  2 u,  that  forms  the  in- 
tersection below  the  winders  up  to  D,  and  ease  off  the  angle  u D c by  intersecting 
lines,  will  give  the  under  edge  of  the  mould  turning  up  to  the  landing  ; in  order 
that  the  last  step  beyond  the  quarter  should  follow  the  mould,  draw  a line  through  7, 
the  height  of  the  last  step,  parallel  to  u b,  or  c c,  cutting  the  underside  of  the  falling 
mould  at  A ; through  A,  draw  A,  B,  parallel  to  C / ; then  u B is  the  tread  of  the 
last  step  of  the  rail,  which  is  set  from  g to  E.  The  face  moulds  at  D and  F are 
completed  in  the  same  manner  as  directed  in  the  last  plate,' and  the  moulds  in  plate  47; 
fig.  D,  is  also  laid  down  by  the  same  method,  the  height  of  the  sections  being  taken 
from  the  falling  mould  that  corresponds  to  that  place  of  the  rail  which  the  face  mould 
is  made  for  ; and  the  bevels  that  are  laid  down  above  each  face  mould  will  show 
how  much  you  must  bevel  the  edge  of  your  plank,  before  you  can  apply  the  face 
moulds  to  the  plank  ; then  draw  the  plumb  of  your  rail,  upon  the  bevelled  edge,  by 
the  other  bevels  that  are  shown  at  the  sections ; then  apply  your  mould  to  each  side 
of  the  plank,  keeping  it  fair  with  the  bevelled  edge,  the  same  as  in  other  cases  be- 
fore mentioned. 


92 


THE  AMERICAN  BUILDER’S  COMPANION, 


PLATE  51. 

PLAN  AND  ELEVATION  FOR  A SMALL  TOWN  HOUSE. 
no.  is 

Kitchen  and  cellar  floor,  twenty  seven  by  twenty  five  feet,  from  out  to  out 
a Cellar,  nine  by  twenty  two  feet. 
b Kitchen,  sixteen  by  fifteen  feet. 
e Kitchen  closet,  six  feet  square. 

NO.  2. 

PARLOUR  FLOOR. 

d Parlour,  sixteen  feet  square. 

e Breakfast  robm,  eight  feet  six  inches  by  sixteen  feet. 
g China  closet,  six  feet  square. 
f Front  entry,  eight  feet  six  inches,  by  six  feet. 

NO.  3. 

Chamber  floor,  with  the  dimensions  figured  on  the  plate. 

NO.  4. 

Upper  chamber  floor,  with  all  the  dimensions  figured  on  the  plate. 


;T  Ult'~  i 


Plate  6l 


Plate  52- 


2 S.f. 


- 

. 

- • 

' ' 


THE  AMERICAN  BUILDER’S  COMPANION. 


93 


PL  ATE  52. 

PLAN  AND  ELEVATION  FOR  A TOWN  HOUSE. 

NO.  1. 

Basement  story  floor,  twenty  five  by  thirty  seven  feet.  „ 
a Kitchen,  fifteen  feet  six  inches  by  seventeen  feet,  in  the  clear. 
b Breakfast  or  counting  room,  fifteen  feet  six  inches  by  twelve  feet  six  inches. 

NO.  2. 

PARLOUR  FLOOR. 

e and  d,  Parlour  and  diningroom,  fifteen  feet  six  inches  by  seventeen  feet. 
f China  closet,  seven  feet  by  six  feet. 
e Library,  seven  feet  square. 

NO.  3. 

CHAMBER  FLOOR. 

g Spare  chamber,  thirteen  feet  six  inches,  by  seventeen  feet. 
i Lady’s  or  gentleman’s  bedchamber,  fifteen  feet  six  inches  by  seventeen  feet. 
k Dressingroom,  seven  feet  by  six  feet. 
h Small  bedchamber,  nine  feet  by  twelve  feet. 

Glass  in  basement  story,  eleven  by  seventeen  inches,  six  lights  each  window. 
Principal  floor,  eleven  by  sixteen  inches,  twelve  lights  each  window.  Chamber 
floor,  eleven  by  fifteen  inches,  twelve  lights  each  window.  Upper  chamber  floor, 
eleven  by  fifteen  inches,  nine  lights  each  window. 


TIIB  AMERICAN  BUILDER’S  COMPANION. 


m 


PLATE  53. 

PLAN  AND  ELEVATION  FOR  A TOWN  HOUSE. 

NO.  I. 

Basement  story  floor,  fifty  four  by  thirty  five  feet. 
a Hall,  or  principal  entrance. 
b Kitchen,  twenty  feet  square. 
c Office,  eleven  by  twenty  feet. 
d Library,  ten  by  twenty  feet. 
e Storeroom  ten  by  eleven  feet. 

NO.  2. 

PARLOUR  FLOOR. 

f Diningroom,  twenty  by  thirty  feet,  in  the  clear. 
g Parlour,  twenty  feet  square. 
h Break  fastroom,  eleven  by  eighteen  feet. 
i Pantry,  or  china  closet,  ten  by  eleven  feet. 

A,  represents  that  part  of  the  railing  which  is  placed  exactly  over  each  window 
from  a to  b , is  the  width  of  the  window  ; from  b to  c,  is  a part  of  the  panel  and 
railing,  which  is  placed  over  the  peers,  between  windows. 

Glass,  in  basement  story,  six  lights  in  a window,  of  twelve  and  a half  by  twenty 
three  inches.  Principal  floor,  twelve  and  a half  by  twenty  one  inches ; twelve 
lights  to  each  window.  Chamber  story,  twelve  and  a half  by  twenty  inches  ; twelve 
lights  each  window.  Upper  chamber  floor,  twelve  and  a half  by  nineteen  inches 
nine  lights  each  window. 


ScaJs  /5jeeb  tv  oh&jbuji. 


s*f- 


Plate  54 


I 


Plate  56 


THE  AMERICAN,  BUILDER’S  COMPANION, 


95 


PLATE  Si. 

PLAN  AND  ELEVATION  FOR  A HOUSE  WHICH  IS  INTENDED  FOR  A COUNTRY  SITUATION. 
NO.  t, 

Is  the  principal  floor,  forty  seven  by  thirty  three  feet. 
a a Parlour  and  diningroom,  twenty  two  by  sixteen  feet,  each. 
b Kitchen,  twenty  by  seventeen  feet. 
c Break fastroom,  nine  by  fourteen  feet. 
d Library,  ten  by  fifteen  feet. 

Entry,  ten  by  fifteen  feet. 
e Pantry  or  china  closet,  eight  by  nine  feet. 

NO.  2. 

Chamber  floor,  which  contains  five  bedchambers.  The  dimensions  as  on  the 
plate. 


96 


THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  55. 

DESIGNS  FOR  A HOUSE  INTENDED  FOR  THE  COUNTRY, 

A,  Basement  story,  forty  seven  by  thirty  feet,  from  out  to  out. 
c Kitchen,  seventeen  by  twenty  one  feet. 

d Storeroom,  ten  by  six  feet. 
m Kitchen  closet,  four  by  sixteen  feet. 

P,  Entry  and  back  stairs. 
f Cellar,  seventeen  feet  square. 
e Cellar,  twenty  two  by  ten  feet. 
n n n Foundation  of  steps. 

B,  Principal  floor. 

i Parlour,  seventeen  by  twenty  one  feet. 
k China  closet,  ten  by  six  feet. 

I Back  stairs  and  entry; 
h Front  entry  and  stairway,  nine  feet  wide. 
g Drawingroom,  seventeen  by  twenty  seven  feet. 

On  the  chamber  floor  may  be  four  bedchambers,  and  on  the  attic  floor  three. 


THE  AMERICA*?  IWTI-bEK’B  COMPAXtOX, 


AT 


PLATE  56. 

PLAY  AND  ELEVATION  FOR  A MEETINGHOUSE, 

Which  contains  fifty  pews  on  the  first  floor,  and  will  accommodate  about  four 
hundred  people,  which  will  be  sufficiently  large  for  most  country  parishes.  The 
front  of  the. front  gallery,  is  intended  to  come  exactly  over  the  partition,  A.  The 
wall,  including  the  euve  cornice,  is  thirty  three  feet  high.  Make  the  eave  cornice 
about  one  twenty  eighth  part  of  thirty  three  feet  ; make  the  cornice  to  the  tower, 
about  one  twenty  fifth  part  of  the  height,  which  is  eleven  inches  ; make  the  cornice 
to  the  ne  xt  story,  which  is  an  octagon,  one  twentieth  part  of  the  height,  which  is 
nine  inches.  The  cornice  B.  on  plate  twenty  seven,  would  be  proper  for  the  eave 
cornice ; and  D,  on  plate  twenty  six,  for  the  cornice  to  the  tower.  D,  on  plate 
twenty  seven  for  the  cornice  to  the  next  story. 

The  windows  in  the  first  story,  are  to  com  fin  twenty  four  panes  of  glass,  of  ten 
by  fifteen  inches ; second  story,  twenty  eight  panes  of  glass,  ten  by  fifteen  inches. 
This  house  may  be  built  of  wood,  and  on  account  of  its  simple  plainness,  for  a less 
sum  of  money,  than  houses  of  this  sort  usually  are  built.  - 


IS 


98 


THE  AMERICAN  BUILDER’S  COMPANION. 


PLATE  57. 

PLAN  AND  ELEVATION  FOR  A MEETINGHOUSE. 

This  plan  was  copied  from  the  original  drawing,  which  was  made  for  the  congre- 
gational meetinghouse  at  West  Boston.  . The  siz  of  the  house  is  seventy  five  feet 
square ; porch,  twenty  by  forty  six  feet  ; to  contain  one  hundred  and  twelve  pews 
on  the  lower  floor.  The  gallery  is  supported  bv  columns  of  the  Composite  ord;  r. 

The  ceiling  has  a d >me  in  the  centre,  of  forty  two  feet  in  diameter,  which  rises 
six  feet  ; the  level  parts  of  the  ceiling,  are  ornamented  with  sunk  pai  els 

The  eave  cornice  is  taken  from  B,  on  plate  twenty  six,  and  is  one  twenty  eighth  part 
of  the  height.  The  third  story  of  the  porch  is  proportioned  exactly  after  the  Doric 
order.  The  cornice  to  the  attic  story  is  about  one  seventeenth  part  of  the  height, 
and  is  taken  from  D,  on  plate  twenty  seven.  The  cupola  has  the  proportions  of 
the  Ionic  order.  The  windows  in  the  first  story  contain  twenty  four  p ines  of  glass, 
of  eleven  by  fifteen  inches.  Windows  of  the  s cond  story,  contain  twenty  eight 
panes  of  glass,  of  eleven  by  sixteen  inches.  Windows  in  the  third  story  of  the 
porch  contain  twenty  eight  panes  of  glass,  c even  by  fifteen  inches,  with  circular 
heads.  Attic  story,  six  panes,  eleven  by  eighteen  inches. 


. 


Plate-  58 


THE  AMERICAN  BUILDER’S  COMPANION. 


99 


PLATE  58. 

PLAN  AND  ELEVATION  FOR  A COURTHOUSE. 

A,  Plan  of  first  floor. 

d Clerk’s  office,  sixteen  by  twenty  one  feet. 
e Room  for  grand  jury,  sixteen  by  yventv  one  feet. 
g Register  of  deeds’  office,  sixteen  feet  square. 
f Probate  court,  sixteen  feet  square. 

€ Hall  and  stairway,  forty  two  by  twenty  one  feet. 

B,  Plan  of  the  second  floor. 

D,  Courtroom,  forty  by  thirty  seven  feet. 
r Judges’  seat. 
q q Small  lobbies, 
sc  Clerk’s  seat. 

W Table. 

v Attorney  general’s  seat. 
s s s Attorney’s  seats. 
p p p p p p Jury  seats. 
zv  u>  Sheriff  boxes. 

t Passage  between  attorney’s  seats  and  bar. 
v n Constables’  boxes. 
m Bar. 

a a Stand  for  witnesses. 
j Stairway. 

h r.d  ? Jure  rooms,  fifpen  by  twenty  one  feet  each. 
b b b b Seats  ior  vviuiacses. 


ioo 


THE  AMERICAN  BUILDER’S  COMPANION. 


Over  h and  i may  be  two  lobbies,  about  fifteen  by  seventeen  feet  each  ; and  over 
the  circular  seats  c c c,  a gallery  which  will  contain  about  one  hundred  people.  It 
is  intended  to  have  a dome  in  the  ceiling  over  the  courtroom,  of  thirty  feet  diam- 
eter, and  to  rise  above  the  horizontal  ceiling  five  feet. 


THE  AMERICAN  BUILDER’S  COMPANION. 


j(il 


OBSERVATIONS 

ON  BUILDING  OF  HOUSES,  TO  ELUCIDATE  THE  PRECEDING  PLANS,  AND  ASSIST  THE 
STUDENT  IN  THE  PRACTICAL  PARTS, 

The  first  thing  to  be  done  in  planning  a house,  is  to  know  the  wants  of  the  per- 
son who  is  to  occupy  it  ; the  next,  to  know  the  situation  of  the  ground  it  is  to  cov- 
er ; then  to  take  into  consideration  the  number,  size,  and  height  of  the  rooms  want- 
ed ; also,  proper  and  convenient  stairs,  entries,  passages,  &c.  Let  the  kitchen  be 
situated,  so  as  to  have  as  easy  a communication  with  the  dining  and  breakfastrooms 
as  possible  ; let  the  pantry  or  china  closet  communicate  with  the  diningroom  by  a 
door,  and  with  the  passage  from  the  kitchen  by  a door  or  window.  Place  the  doors 
in  'mch  a manner  as  to  make  the  distance  from  one  part  of  the  house  to  the  other, 
as  short  as  possible ; still  keep  uniformity  in  view,  as  it  is  one  of  the  greatest  beau- 
ties in  architecture  ; yet  convenience  ought  not  to  m ike  too  great  a sacrifice  to  it. 
The  eye  ought  to  see,  at  the  same  time,  every  part  of  the  building,  and  be  sure  that 
no  one  part  of  it  interferes  with  another  ; also,  to  see  that  the  rooms  are  properly 
lighted,  and  at  the  same  time,  that  there  are  a sufficient  number  of  windows,  and  of 
a size  suitable  for  the  external  part  of  the  building. 

Strength,  convenience,  and  beauty,  are  the  principal  things  to  be  attended  to.  To 
have  strength,  there  must  be  a good  solid  foundation  ; and  never  place  piers  over 
openings  of  windows  or  doors.  Openings  of  windows  or  doors  in  different  stories, 
ought  to  be  exactly  perpendicular,  one  over  the  over.  Care  ought  to  betaken,  not 
to  place  heavy  girders  or  beams  over  doors  or  windows,  or  to  lay  timber  of  any  kind 
under  fireplaces.  As  to  the  proportion  of  windows  to  rooms,  I do  not  believe  any 
certain  determined  rule  can  be  given  for  their  height  and  breadth,  although  there 
are  several  European  writers,  who  have  given  rules  for  their  proportion.  I think 
sir  William  Chambers  has  given  the  best  proportion  of  any  one  l have  seen,  yet  I 
do  not  find  it  to  answer  in  allcises  ; he  adds  the  depth  and  the  height  of  the  rooms 
on  the  principal  floor  together,  and  takes  one  eighth  part  thereof  for  the  width  of 
the  window.  The  width  and  height  of  doors,  depends  on  the  size  and  height  of. 


THE  A MERIC  \N  BUILDER’S  COMPANION. 


JOS 

rooms  In  some  degree,  although  there  is  not  any  room  so  small  as  not  to  require  o. 
door  sufficiently  large  for  a person  to  pass  through  its  opening.  In  the  course  of 
my  own  practice,  I have  made  doors  for  rooms  of  sixteen  by  eighteen  or  twenty 
feet,  and  ten  feet  high,  three  feet  wide,  and  seven  feet  or  seven  feet  two  inches  high. 
When  rooms  have  been  twenty  by  twenty  three  or  twenty  four  feet,  and  twelve  or 
fourteen  feet  high,  I have  made  the  doors  three  feet  six  or  seven  inches  wide,  and 
seven  ffiet  eight  inches,  or  eight  feet  high  ; all  the  doors  in  the  same  room  ought  to 
be  of  the  same  size,  except  where  two  doors  are  placed  together  between  the  two 
principal  rooms,  which  are  called:  folding  doors.  They  ought  to  be  made  from 
eight  to  twelve  inches  higher  than  the  other  doors  of  the  room,  or  they  will,  on  ac- 
count of  their  width,  appear  to  be  lower  than  the  others  ; these  folding  doors  are 
commonly  used  in  Boston,  and  are  very  convenient,  particularly  so  when  placed  be- 
tween small  rooms,  both  for  the  circulation  of  air,  when  windows  and  doors  are 
opened,  and  for  the  reception  of  large  companies. 

The  size  of  outside  doofs,  must  be  governed  by  the  building  in  which  they 
are  placed.  If  in  a town  house  with  a narrow  front  and  small  windows  on  each  side, 
like  plate  fifty  two,  three  feet  four  or  six  inches  will  dovtry  well  for  its  width,  but 
if  wanted  for  a large  house,  and  without  side  lights,  it  ought  to  be  made  much 
wider  ; say  from  three  feet  ten  inches  to  four  feet  ; and  in  some  cases,  four  ibet 
four  or  six  inches  wide,  and  never  less  than  two  diameters  high. 

The  chimney  ought  not  to  project  into  the  room  more  than  from  fifteen  to  twen- 
inches  if  it  can  be  avoided,  and  care  should  be  taken  to  place  then,  on  the  most 
convenient  side  of  the  room.  For  size  of  fireplaces,  see  explanation  of  chimney- 
pieces.  Never  make  the  funnel  less  than  twelve  inches  square,  and  it  there  is  suf- 
ficient room,  sixteen  inches  is  a good  size  where  a fireplace  is  about  four  feet  be- 
tween the  jambs. 


■ 


* 


PS 


THE  AMERICAN  BUILDER’S  COMPANION. 


103 


% 

PLATE  59. 

METHOD  OF  BUILDING  KITCHEN  FIREFLVCES  VV11H  RUMFORD’S  ROASTERS  ADD  BOILERS, 
FIG.  1, 

Represents  a front  view  or  election  of  a kitchen  fireplace,  common  brick  oven, 
Romford  roasTer  and  doors  to  the  boilers. 

N.  B.  The  height  of  this  brick  work  from  the  hearth  a,  to  the  top  6,  is  two  feet 
ten  inches. 

The  space  above  the  boilers*/,  represents  a sliding  shutter,  hanging  by  weights, 
to  slide  up  and  down,  and  close  in  the  steam  ol  the  boilers. 

S,  at  the  dotted  lines,  is  the  passage  from  the  steam  to  go  off  into  the  chimney. 

R represents  the  front  of  the  roaster,  with  its  flues  for  the  smoke  to. pass  round 

the  cylinder  into  the  chimney. 

E,  represents  the  front  of  the  oven. 

FIG.  5, 

R -presents  boilers  with  the  brick  work  closed  round  the  rims,  and  two  stoppers 
for  clearing  out  the  soot  of  the  canal. 

F,  in  fig.  l'and  2,  represents  flue  of  fireplace. 

G,  flue  of  oven. 

T,  inside  of  roaster  with  its  flues  ; mark  out  the  dot  at  the  back  end  where  the 
steam  tube  comes  in. 

FIG.  3, 

Represents  the  flues  of  the  boilers  passing  into  the  canal,  at  the  level  of  K,  in  fig.  5. 
1,  is  the  canal  for  smoke  to  p iss  into  the  chimney. 

K,  represents  the  grate  of  the  roaster,  the  dotted  lines  from  the  grate  represent 
the  rising  of  the  brick  work  to  the  back  of  tiie  roaster. 

F G.  4, , 

Is  the  ground  plan  of  fireplace  and  ashpits... 


THIS  AMERICAN  nUILTlF/R’S  COMPANION- 


'S of 

FIG.  5, 

Represents  the  inside  section  of  the  thirteen  and  a half  inch  boiler,  with  its  steam 
dish  and  cover  ; on  the  descent  from  door  to  grate  is  one  and  a half  inches. 

GENERAL  OBSERVATIONS. 

Eight  or  nine  inches  ought  to  be  allowed  from  the  top  of  the  grates  to  the  bottom 
of  the  boilers,  the  distance  between  the  Are  and  ashpit  door  may  vary,  according  to 
the  depth  of  the  boilers,  as  appears  in  fig.  1. 

Make  the  space  between  the  grates  and  bottom  cf  the  roaster  not  less  than  one 
foot ; the  distance  between  the  fire  and  ash  door  may  be  from  two  to  five  bricks, 
as  is  most  convenient  ; the  space  round  the  roaster  for  the  smoke,  two  and  a half 
inches  ; round  the  boilers,  two  inches. 

In  small  boilers  one  brick  will  be  sufficient  to  cover  the  flues  ; but  in  large  ones, 
such  as  washkettles,  they  ought  to  be  covered  with  two. 

Make  the  small  flues  that  lead  from  the  boilers,  two  inches  high  and  three  long. 
The  main  canal  ought  to  be  from  eight  to  twelve  inches  deep,  below  the  bottom  of 
the  small  ones. 

Where  it  can  conveniently  be  done,  it  is  best  to  lead  the  smoke  of  the  roaster 
down  as  low  as  the  top  of  the  bottom  shelf,  which  will  greatly  assist  in  retaining  the 
heat. 

Note.  This  plate  was  drawn  by  Mr.  Lancaster,  who  has  been  more  successful 
in  setting  Rumford’s  roasters  and  boilers,  than  any  other  person  ; and  was  explain- 
ed by  him  and  Mr.  Howe,  who  is  the  only  one  that  makes  them  in  Boston. 


r^7 


ii  I 


v-f 


